Professors: Nicholas Adamsab, Frances
D. Fergusson (and President), Susan D. Kuretsky;
Associate Professors: Peter Charlap, Eve D'Ambra,
Peter Huenink, Karen Lucic, Brian Lukacher (Chair), Molly
Nesbit, Harry Rosemanb; Assistant Professors:
Lisa Collins, Andrew Watsky; Senior Lecturer: Jeh
Johnson; Lecturer: James Mundy; Adjunct Assistant
Professor: Richard Bosman; Adjunct Lecturers:
Carol Thompson, Jessica Winston; Adjunct
Instructors: Judith Linn, Gina Ruggeri.
Requirements for Concentration in Art History: The
major consists of a minimum of 12 units. 10 units, including
Art 105-106, must be in graded art history courses taken at
Vassar. 2 units may be taken in studio art and/or
architectural design, or may be transferred from work
completed outside of Vassar, such as courses taken Junior
Year Abroad.
Distribution: 6 units must be divided equally
between groups A, B, and C.
1 unit in group D (African or Asian) may be substituted for
a unit from any of the other three groups and 1 unit taken
JYA may also be applied to meet this distribution
requirement. 3 units must be in 300-level art history
courses: two seminars in different art historical groups and
301 (senior project). 300-level seminars are to be selected
on the basis of courses in the same area already taken on
the 200-level. Majors are also urged to take a 300-level
seminar before 301.
A) Ancient B) Renaissance C) Nineteenth Century D)
Asian
A) Medieval
B) Seventeenth
C) Twentieth Century
D) African
B) Century
C) American
Departmental and interdisciplinary courses that do not
conform to the groupings listed above may be applied to the
distribution requirements upon approval of the student's
major adviser.
Ungraded/NRO work may not be used to satisfy the
requirements for the art history concentration.
Senior Year Requirements: Art 301 and 1 additional
unit at the 300-level. Majors concentrating in art history
are required to write a senior paper, based upon independent
research and supervised by a member of the department.
Petitions for exemption from this requirement, granted only
in special circumstances, must be submitted to the chair in
writing by the first day of classes in the A semester.
Recommendations: The selection and sequence of
courses for the major should be planned closely with the
major adviser. Students are advised to take courses in the
history of painting, sculpture, and architecture, and are
strongly encouraged to take at least one studio course.
Students considering graduate study in art history are
advised to take courses in foreign languages: German, and
the Romance, Classical, or Asian languages, depending on
areas of interest. Students with special interest in
architectural design and/or city planning should meet with
the departmental adviser to discuss this concentration.
The art department offers a correlate sequence in art
history to allow students to develop an area of significant
interest outside their major field of concentration. In
consultation with a departmental adviser, the student will
select a body of courses encompassing introductory through
advanced study and covering more than one historical
period.
The Correlate Sequence in Art History: 6 graded
units including Art 105-106, three 200-level courses in at
least two art historical period groups, and one 300-level
course.
Advisers: the art history faculty.
Requirements for Concentration in Studio Art: 13
units; 4 units must be in graded art history courses,
consisting of Art 105-106 and two 200-level courses in
different groups (A, B, C, or D) listed above; 9 studio
units, 7 of which must be graded units taken at Vassar,
including Art 102-103; 4 units in 200-level studio courses,
of which 2 must be Art 204-205 and 2 must be in sequential
courses in painting, drawing, or printmaking; 3 units in
300-level studio courses including Art 301. By special
permission up to 2 units of 298 and 399 work can be included
in the major.
Senior Year Requirements: Art 301 and 1 additional
unit at the 300-level.
Studio Art: Entrance into the studio concentration
is determined by evaluation of the student's class work and
by a review of the student's portfolio by the studio
faculty. The portfolio may be submitted for evaluation at
any time, ordinarily between the spring of the sophomore
year and the spring of the junior year. Students taking
studio courses are charged a fee to cover the cost of some
materials, and they may be responsible for the purchase of
additional materials.
Students who wish to concentrate in studio art are
advised to take Art 102-103 in their freshman year and at
least one additional studio course in the sophomore year in
order to have a portfolio of work to be evaluated for
admission to the studio art concentration. Those students
interested in the studio concentration should consult the
studio faculty no later than the end of the sophomore year.
NRO work may not be used to satisfy the requirements for the
studio concentration.
Advisers: the studio art faculty.
Art History
I. Introductory
105a-106b. Introduction to the History of Art
(1)
An historical and analytical introduction to
architecture, sculpture, and painting. The department.
Open to all classes. Enrollment limited by class.
Three 50-minute periods and one conference hour.
[170a. History of Architecture] (1)
A survey of architecture from the earliest times to the
present. Focusing on a major work or theme each week, the
course will cover architecture and city-making in a
historical context. Primary source readings and field trips.
Mr. Adams.
Open to all classes.
Not offered in 2000/01.
190a. Images and Ideas: Exploring the Sense of Sight
(1)
An exploration of how various notions of seeing (as
perception, as recognition, as revelation) have been treated
in the visual arts and in literature. Class meetings take
place in the Frances Lehman Loeb Art Center so that students
may make regular use of Vassar's extensive art collection.
Ms. Kuretsky.
Open to freshmen. Limited enrollment.
Two 75-minute periods.
Prerequisite for intermediate courses: Art 105-106 except
as noted.
210b. Greek Art and Architecture (1)
(Same as Classics 210). Sculpture, vase painting, and
architecture from the Archaic and Classical periods, with
glances back to the Bronze Age and forward to the
Hellenistic kingdoms. Stylistic developments leading to the
ideal types of hero, warrior, athlete, maiden, etc. are
central to the course, along with the mythological subjects
that glorified the citystate and marked religious cults and
the rituals of everyday life. Ms. D'Ambra.
Prerequisite: Art 105106 or Classics 216 or 217, or by
permission of instructor.
211a. Roman Art and Architecture (1)
(Same as Classics 211) Sculpture, painting, and
architecture in the Roman Republic and Empire. Topics
include: the appeal of Greek styles, the spread of artistic
and architectural forms throughout the vast empire and its
provinces, the role of art as political propaganda for state
and as status symbols for private patrons. Ms. D'Ambra.
Prerequisite: Art 105106 or Classics 218 or 219, or by
permission of instructor.
220a. Romanesque and Gothic Architecture (1)
A history of architecture from the revival of monumental
building by the Carolingians in the north of Europe down to
the age of the great cathedrals in the thirteenth century.
While it is a survey of mostly church architecture, coverage
extends to castles and cities. Topics explored include
Benedictine monasticism and the legacy of Rome; materials
and construction; design and structural innovations of
Gothic in the Ile-de-France; the castle in war; the city as
setting for cathedral builders. Readings focus on primary
sources and recent monographs. Videos and computer
animations. Mr. Huenink.
Prerequisite: Art 105-106, or Medieval Studies, or by
permission of instructor.
Two 75-minute periods.
221b. The Sacred Arts of the Middle Ages (1)
Sculpture, manuscript illumination, painting, and
metalwork from the Carolingian through the Gothic period
(800-1300). Focus is on formal and iconographic developments
in their historical context. Readings focus on primary
sources and writings on medieval aesthetics. Some work with
Vassar's collections and New York museums. Mr. Huenink.
Prerequisites: Art 105, or Medieval Studies, or by
permission of instructor.
Two 75-minute periods.
[230a. Northern Renaissance Painting]
(1)
Early Netherlandish and German painting and printmaking
from Campin and van Eyck to Bruegel, Holbein, and
Dürer. The course examines northern European attitudes
toward nature, devotional art and portraiture that developed
in the early fifteenth century and their evolution up to and
through the Protestant Reformation of the sixteenth century.
Ms. Kuretsky.
Prerequisite: Art 105-106, or by permission of
instructor.
Two 75-minute periods.
Not offered in 2000/01.
231b. Northern Baroque Painting (1)
An exploration of the new forms of secular and religious
art that developed during the socalled Golden Age of the
Netherlands in the works of Rubens, Rembrandt, Vermeer and
their contemporaries. The course examines the impact of
differing religions on Flanders and the Dutch Republic,
while exploring how political, economic and scientific
factors encouraged the formation of seventeenth century
Netherlandish art. Ms. Kuretsky.
Prerequisite: Art 105-106, or by permission of
instructor.
Two 75minute periods.
235a. Early Central Italian Painting and Sculpture
(1)
The early Renaissance from Donatello and Masaccio to
Botticelli, Leonardo and the young Michelangelo. Instructor
to be announced.
Prerequisite: Art 105-106, or by permission of
instructor.
236b. Later Central Italian Painting and Sculpture
(1)
Renaissance painting and sculpture from Leonardo and
Raphael to the death of Michelangelo. Instructor to be
announced.
Prerequisite: Art 105-106 (Art 106 may be a corequisite),
or by permission of instructor.
242b. Seventeenth-Century Painting and Sculpture
(1)
in Italy, France, and Spain
An examination of the dominant trends and figures of the
Italian, French, and Spanish baroque period. This course
explores the works of major masters including Caravaggio,
Bernini, Poussin, La Tour, and Velazquez, as well as such
issues as the development of illusionistic ceiling
decoration, the theoretical basis of baroque art, and art's
subservience to the church and the royal court. Ms.
Winston.
Prerequisite: Art 105-106, or by permission of
instructor.
[250a. Inventing a Nation: Cultural Diversity in
American Art (1)
from the Beginnings to 1865]
This course examines the arts of the prehistoric,
colonial, early republic, and antebellum periods. Important
figures include painters such as Copley, West, Mount, Cole,
and Church, and architects such as Jefferson, Bulfinch,
Latrobe, Davis, and Downing. In addition, we consider the
diverse and often overlooked contributions of women, Native
Americans, African Americans, and folk artists. Ms.
Lucic.
Prerequisite: Art 105-106, or by permission of
instructor.
Not offered in 2000/01.
251b. The Challege of Modernity: American Art
1865-1945 (1)
Painting, sculpture, photography, architecture, and
design during America's "coming-of-age'' as a cultural,
economic, and political power. The course examines the work
of such figures as Richardson, Sullivan, Wright, Homer,
Eakins, Cassatt, Sargent, Whistler, O'Keeffe, Hopper,
Stieglitz, Strand, and the artists of the Harlem
Renaissance. Ms. Lucic.
Prerequisite: Art 105-106, or by permission of
instructor.
253b. The Arts of Central, East and Southern Africa
(1)
(Same as Africana Studies 253b.) A survey of the visual
arts of Central, East, and Southern Africa, ancient to
contemporary. Chronological examination of the development
of politically centralized kingdoms. Examination of the art
of presentday decentralized rural and nomadic peoples from
Gabon to Ethiopia to South Africa, as well as contemporary
urban art from this broad region. Looks at the impact of
both Arab and European contact with African peoples from a
historical perspective. Emphasizes relationships between the
past and the present, the rural and the urban, and Africa
and the African Diaspora throughout. Ms. Thompson.
Prerequisite: 105106, or one 200-level course in Africana
Studies or by permission of instructor.
254a. The Arts of West and North Africa (1)
(Same as Africana Studies 254a.) A survey of the visual
arts of West and North Africa, ancient to contemporary.
Chronological examination of the art of ancient Nubia and
Egypt, the empires of the Western Sudan, and the kingdoms of
the Guinea Coast. Examination of the art of presentday
decentralized rural and nomadic peoples from Morocco to
Guinea to Cameron, as well as contemporary urban art of this
broad region. Looks at the impact of both Arabic and
European contact with peoples of Africa from a historical
perspective. Emphasizes relationships between the past and
the present, the rural and the urban, and Africa and the
African Diaspora throughout. Ms. Thompson.
Prerequisites: Art 105-106, or one 200-level course in
Africana Studies or by permission of instructor.
[257a. The Arts of China] (1)
A historical survey of the major developments in Chinese
art from the Neolithic period through the Ch'ing dynasty,
including archaeological discoveries, bronzes, ceramics,
Buddhist sculpture, architecture, calligraphy, and painting.
Mr. Watsky.
Prerequisite: Art 105-106, or by permission of
instructor.
Alternate years: Not offered in 2000/01.
258a. The Arts of Japan (1)
A historical survey of the major developments in Japanese
art from prehistoric times through the present, including
painting, sculpture, decorative arts, architecture, and
garden design. Mr. Watsky.
Prerequisite: Art 105-106, or by permission of
instructor.
Alternate years: Offered in 2000/01.
259b. Warriors, Deities and Tea Masters: Japanese Art
of the (1)
Momoyama Period (15681615)
A survey of the arts during this brief yet pivotal
period, when artists and patrons in a newly redefined Japan
explored severaloften contrastingaesthetic ideals. The
course examines developments in a range of mediums,
including painting, architecture, ceramics, and lacquer.
Some of the themes treated are the tea ceremony, the first
arrival of Europeans, the workshop in Japanese art, and
genre. Mr. Watsky.
Prerequisite: Art 105-106, or by permission of
instructor.
262a. Art and Revolution in Europe, 1789-1848
(1)
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. Mr. Lukacher.
Prerequisite: Art 105-106, or by permission of
instructor.
263b. Painters of Modern Life: Realism, Impressionism,
Symbolism (1)
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. Mr. Lukacher.
Prerequisite: Art 105-106, or by permission of
instructor.
264a. The Avant-Gardes, 1890-1930 (1)
The formation of the European avant-gardes is studied as
part of the general modernization of everyday life. Various
media are included: painting, sculpture, architecture,
photography, the applied arts, and film. Ms. Nesbit.
Prerequisite: Art 105-106, or by permission of
instructor.
265b. Modernism and the Mass Media, 1930-1975
(1)
The history of modernist painting in Europe and America
from 1930 to 1975, together with those contemporary
developments in film, photography, and the mass media.
Special attention is paid to the criticism, theory, and
politics of the image. Ms. Nesbit.
Prerequisite: Art 105-106, or by permission of
instructor.
266a. African-American Arts and Artifacts (1)
(Same as Africana Studies 266) This class serves as an
introduction to the artistic and material production of
African Americans in the U.S. from the colonial period to
the present day. As a class, we examine the multiple
influences on (African, European, American, diasporic, etc.)
and uses for black creative expression. Working with an
expansive conception of art, we pay close attention to the
work of formally and non-formally trained artists in
relation to their social, cultural, aesthetic, and
historical contexts. Ms. Collins.
Prerequisite: Art 105-106, or by permission of
instructor.
[270a. Renaissance Architecture] (1)
European architecture and city building from 1300-1500;
focus is on Italian architecture and Italian architects;
encounters between Italian and other cultures throughout
Europe and the Mediterranean. Mr. Adams.
Prerequisite: Art 105-106, or 170 or by permission of
instructor.
Not offered in 2000/01.
271b. Early Modern Architecture (1)
European and American architecture and city building
(1500-1800). Focus is on the development and transformation
of Renaissance ideas through their diffusion through Europe
and the Mediterranean and their encounter with new
exigencies in the Americas. Instructor to be announced.
Prerequisite: Art 105-106, or 170, or by permission of
instructor.
[273b. Architecture After Modernism]
(1)
European and American architecture and city building
(1930-present); examination of the diffusion of modernism
and its reinterpretation by corporate America and Soviet
Russia. Discussion of the critiques of modernism
(postmodernism, deconstruction). Issues in contemporary
architecture. Mr. Adams.
Prerequisite: Art 105-106, or 170, or by permission of
instructor.
Not offered in 2000/01.
290a or b. Field Work (1/2 or
1)
Projects undertaken in cooperation with approved
galleries, archives, collections, or other agencies
concerned with the visual arts, including architecture. May
be taken either semester or in the summer. Open by
permission of a supervising instructor. Not included in the
minimum requirements for the major. The department.
Prerequisites: Art 105-106 and one 200-level course.
298a or b. Independent Work (1/2
or 1)
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.
Prerequisite for advanced courses: 3 units of 200-level
work or the equivalent. By permission.
300a or b. Senior Paper Preparation
(1/2)
Optional. Regular meetings with a faculty member to
prepare an annotated bibliography and thesis statement for
the senior paper. Course must be scheduled in the semester
prior to the writing of the senior paper. Credit given only
upon completion of the senior paper. Ungraded.
301a or b. Senior Project (1)
Supervised independent research culminating in a written
paper.
310b. Seminar in Ancient Art (1)
(Same as Classics 310b.) Subject to be announced. Ms.
D'Ambra.
Prerequisite: permission of instructor.
One 2-hour period.
320b. Seminar in Medieval Art (1)
The Romanesque abbeys of St. Lazare in Autun and La
Madeleine in Vézelay. An investigation of the
architecture and sculpture of the two monuments that define
the Romanesque period. Close scrutiny of new monographs and
primary sources, most notably the Vézelay Chronicle,
written at Vézelay c. 1138-1161. Intense
ecclesiastical rivalries, massing of pilgrims, theft of
relics, comital raidsall seen through the lens of the
Chronicleset the historical backdrop. Mr. Huenink.
Prerequisite: permission of instructor.
One 2-hour period.
330a. Seminar in Baroque Art (1)
Subject to be announced. Ms. Winston.
Prerequisite: permission of instructor.
One 2-hour period.
331a. Seminar in Northern Art (1)
Art and Science in the Age of Vermeer. The seminar
explores the importance of empirical investigation in the
"Age of Observation" to developments in seventeenth-century
Dutch art and thought. After examining responses to nature
on the part of earlier northern European painters such as
Jan van Eyck, Albrecht Dürer, and Pieter Bruegel, we go
on to consider, among other topics, the impact of lenses and
the camera obscura on the art of Vermeer and his scientific
and artistic contemporaries, relationships between botanical
illustration and Dutch still life painting, and Rembrandt's
depictions of anatomy lessons. Ms. Kuretsky.
Prerequisite: permission of instructor.
One 2-hour period.
332b. Seminar in Italian Renaissance Art (1)
Michelangelo: This course examines the art and life of
Michelangelo Buonarroti, the Italian Renaissance artist who
lived from 1474 to 1564. Although he is best known as a
sculptor and painter, Michelangelo was also an architect, a
poet, a civil engineer, a teacher, and a diplomat. We look
at his work within the context of the Renaissance cities of
Florence and Rome, and investigate his artistic, religious,
personal, political, and economic motivations. Ms.
Musacchio.
Prerequisite: permission of instructor.
One 2-hour period.
358a. Seminar in Asian Art (1)
The Japanese Print. An examination of Japanese wood-block
prints from the seventeenth through the nineteenth century.
The seminar considers such issues as the technical aspects
of producing wood-block prints; the varied subject matter,
including the "two wheels of the vehicle of pleasure"
(prostitution and theater), the Japanese landscape, and the
burgeoning urban centers; and, the links between literature
and prints, especially the often parodic reworking of
classical literary themes in prints. Mr. Watsky.
Prerequisite: permission of instructor.
One 2-hour period.
362a. Seminar in Nineteenth-Century Art (1)
Optical Materialism: The Pre-Raphaelites and Victorian
Vision. An investigation of the Pre-Raphaelite Brotherhood
art movement in the context of the social and esthetic
theories of John Ruskin and the prevailing concerns of
Victorian culture and society, including the
industrialization of labor and the countryside, British
Imperialism and religious reform, the "woman question", and
the utopian and spiritual nostalgia for the medieval world.
Along with Pre-Raphaelite painting, related currents in
photography, architecture, poetry, and the decorative arts
will be studied. Mr. Lukacher.
Prerequisite: permission of instructor. One 2-hour
period.
[364a. Seminar in TwentiethCentury Art]
(1)
The World Picture. The seminar studies the contemporary
culture as a global condition. That there is no consensus on
this culture's definition enables us to explore different
critical possibilities, focusing on the concepts provided by
Deleuze. Students write seminar papers on the cross-cultural
work of contemporary artists, filmmakers, and architects
(for example, Matthew Barney, Gabriel Orozco, Rem Koolhaas,
Chris Marker, Pina Bausch, Rachel Whiteread, William
Kentridge, Jean Nouvel, Gary Hill, Bill Viola, Mona Hatoum,
Peter Eisenman, Gerhard Richter). Ms. Nesbit.
Prerequisite: Art 265, or by permission of
instructor.
One 2hour period.
Not offered in 2000/01.
366b. Seminar in African-American Art (1)
(Same as Africana Studies 366 and Women's Studies 366)
Vision and Critique in the Black Arts and Women's Art
Movements. Focusing on the relationships between visual
culture and social movements in the U.S., this seminar
examines the arts, institutions, and ideas of the Black Arts
movement and Women's Art movement of the 1960s and 1970s.
Analyzing paintings, photographs, posters, quilts, collages,
murals, manifestos, mixed media works, installations, films,
performances, and various systems of creation,
collaboration, and display, we explore connections between
art, politics, and society. Ms. Collins.
Prerequisite: permission of instructor.
One 2-hour period.
370b. Seminar in Architectural History (1)
The Architect and the Modern House, 1850's to the
Present: This seminar examines some of the canonical
European and American houses from the nineteenth-century to
the present designed by architects such as Philip Webb,
Frank Lloyd Wright, Adolf Loos, Le Corbusier, Eileen
Gray, Mies van der Rohe, Paul Rudolph, Robert Venturi, Rem
Koolhaas and others. Questions are raised about the home and
its relationship to Modernism; the interaction between
patron and architect; how houses are gendered for women and
men; the family structure; and the development of the
suburb. The house is considered as an incubator for
movements like feminism or a place where homosexuality can
literally be closeted. What emerges are the paradigms that
have shaped the house and Modernity itself. Mr. Rohan
Prerequisite: permission of instructor.
One 2hour period.
[378b. Seminar in Museum History, Philosophy, and
Practice] (1)
This seminar addresses issues surrounding the role and
mission of the art museum in society. By highlighting each
year a specific topic regarding history, ethics,
connoisseurship, economic, or social issues, this course
attempts to clarify the purpose of presenting the public
with original works of art and the methods that invest this
exposure with meaning. Working with original works of art is
stressed. Mr. Mundy.
Prerequisite: permission of instructor.
Not offered in 2000/01.
[381b. Creativity and Politics in the Harlem
Renaissance and the WPA] (1)
(Same as Africana Studies 381) Focusing on the
experiences and representations of African Americans in the
U.S., this seminar examines the arts, institutions, and
ideas of the Harlem Renaissance of the 1920s and New Deal
projects of the 1930s and 1940s. Analyzing paintings,
sculptures, photographs, novels, "folk arts," murals,
illustrations, manifestos, films, performances, and various
systems of patronage, the seminar explores relationships
between art, politics, and society. Ms. Collins.
One 2-hour period.
Permission of the instructor is required.
Not offered in 2000/01.
382b. Belle Ribicoff Seminar: In the History of Art
(1/2)
The Invention of Art Hisotry: This half-unit seminar
studies the historiography and methodological foundations of
the discipline of art hisotry, focusing on the work of key
German art historians from 1890 until the 1940s. The
writings and theories of Riegl, Warburg, Wolfflin, Panofsky,
and others who gave definition to art history as an
intellectual and academic field of study are examined in
light of recent methodological concerns. The seminar is
moderated by the Belle Ribicoff Distinguished Guest Lecturer
in the History of Art, Christopher Wood of Yale University.
The department.
Prerequisite: permission of the department Chair.
One 2-hour period.
384b. Delmas Seminar: The Past, The Present, Walter
Benjamin (1)
The problems posed by distance in time and space were
thought by Benjamin to bring the aura to a work of art. The
same problems also helped him to write about the past in the
present. We will look at Benjamin's work from two
perspectives, first studying his writings on Proust and
Baudelaire, photography and history, mourning and allegory,
as they set into his own experience as an expatriate in
Paris. Then we examine present day artists and writers who
use Benjamin to make sense of and to picture global postwar
culture. The seminar will travel to Berlin and Paris over
Spring Break. Ms. Nesbit and Mr. Chang.
Prerequisite: permission of the instructors
One 2-hour period.
385b. Seminar in American Art (1)
Designs for Living: Modern Decor in Hollywood Movies.
This seminar investigates how American films of the early
twentieth century used innovative costumes and settings to
embody the theme of modernity. The films of Greta Garbo,
Joan Crawford, Clark Gable, Cary Grant, among other stars,
are examined, along with the work of art directors like
Cedric Gibbons and auteurs such as Alfred Hitchcock. We
focus on issues of gender, consumerism, class mobility and
other social transformations of modem America. Ms.
Lucic.
Prerequisite: permission of instructor.
One 2-hour period.
399a or b. Senior Independent Work (1/2 or
1)
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.
Studio Work in Design, Drawing, Painting,
Sculpture
I. Introductory
102a-103b. Basic Drawing (1)
Development of visual ideas through drawing. Line, shape,
value, form, and texture are investigated through specific
problems in a variety of media. Mr. Charlap, Mr. Bosman, Ms.
Ruggeri.
Open to all classes.
Two 2-hour periods.
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. Mr. Charlap.
Open to all classes.
Prerequisites for intermediate courses: Art 102a-103b or
by permission of instructor.
202a-203b. Painting I (1)
Basic painting skills are explored through a sequence of
specific problems involving landscape, still life, and the
figure. Instruction in the use of various painting media.
Mr. Charlap.
Two 2-hour periods.
204a-205b. Sculpture I (1)
Introduction to the language of three-dimensional form
through a sequence of specific problems which involve the
use of various materials. Mr. Roseman.
Two 2-hour periods.
206a, 207b. Drawing (1)
Intensive study of the figure with emphasis on
establishing and pursuing a drawing idea. Study from life as
well as the imagination with work from both still life and
landscape. Mr. Roseman, Mr. Charlap.
Prerequisite: Art 102a.
Two 2-hour periods.
208a. Printmaking: Introduction (1)
A variety of printmaking concepts and procedures are
explored through a series of assignments in monotype and
collagraph. Mr. Bosman.
Corequisite: Art 102a.
Two 2-hour periods.
209b. Printmaking: Intaglio (1)
The intaglio techniques of line etching, aquatint, and
drypoint, as well as their variations, are applied to making
both black and white and color prints. Mr. Bosman.
Prerequisite: Art 102a.
Two 2-hour periods.
Alternate years.
In this course students investigate technical, visual and
expressive aspects of black and white photography. Technical
aspects of shooting and darkroom procedures are taught
building on previous experience. The course includes group
and individual critiques to develop the students analytical
abilities. All students enrolled in this course are required
to join Focus (student photography organization) in order to
gain darkroom access. Students are expected to supply their
own camera and printing paper. Ms. Linn.
Prerequisites: Basic Drawing and one other Art Department
course or by permission of instructor. A photography
portfolio is required.
Two 2-hour periods.
298a or b. Independent Study (1/2 or
1)
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 except by special permission.
Mr. Charlap, Mr. Roseman, other instructors to be
announced.
Prerequisites for advanced courses: 2 units of 200-level
work and as noted.
301a or b. Senior Project (1)
A supervised independent project in studio art.
302a, 303b. Painting II (1)
Intensive study of the human figure with an emphasis on
color and compositional ideas. Students will have an
opportunity to establish themes which they will pursue.
Instructor to be announced.
Prerequisite: Art 202a-203b.
Two 2-hour periods.
304a, 305b. Sculpture II (1)
The first semester is devoted to intensive study of the
human figure. An exploration into the perceptual and
conceptual pursuits of creating sculpture is the focus of
the second semester. Mr. Roseman.
Prerequisite: Art 204a-205b or by permission of
instructor.
Two 2-hour periods.
399a or b. Senior Independent Study (1/2 or
1)
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 except by special
permission. Mr. Charlap, Mr. Roseman, other instructors to
be announced.
Studio Work in Architectural Design
275/276. Architectural Drawing (1)
Elements of architectural drawing including orthographic,
isometric, and perspective projection. Mr. Johnson.
Special permission. Does not count toward the major.
Prerequisite: Art 105106; corequisite: one of the
following 200level architectural history courses: 220, 270,
272, or 273.
Two 2hour periods.
375/376. Architectural Design (1)
Theory and practice of contemporary design. Mr.
Johnson.
Special permission.
Prerequisites: Art 275/276, and one of the following
200level architectural history courses: Art 220, 270, 271,
272, or 273. Corequisite: a second 200-level architectural
history course: Art 220, 270, 271, 272, or 273.
Two 2hour periods.
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