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Professors: Nicholas Adams, Eugene A. Carrollab, Frances D. Fergusson (and President), Susan D. Kuretsky; Associate Professors: Peter Charlap, Eve D'Ambrab, Peter Huenink, Karen Lucic, Brian Lukacher (Chair), Molly Nesbitb, Harry Roseman; Assistant Professor: Andrew Watskyab; Senior Lecturer: Jeh Johnson; Lecturers: Francesca Consagra (Curator of Prints and Drawings, Frances Lehman
Loeb Art Center), James Mundy (Director, Frances Lehman Loeb Art
Center).
ab Absent on leave for the year. b Absent on leave, second semester.
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.
[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.
Not offered in 1999/00.
II. Intermediate
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.
Not offered in 1999/00.
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.
Two 75minute periods.
231b. Dutch and Flemish Painting in the Seventeenth Century (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.
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.
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.
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. Instructor
to be announced.
Prerequisite: Art 105-106.
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.
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.
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. Instructor to be announced.
Prerequisite: Art 105-106, or by permission of instructor.
Alternate years: Offered in 1999/00.
[258a. The Arts of Japan] (1)
A historical survey of the major developments in Japanese art
from prehistoric times through the Edo period, including painting,
sculpture, decorative arts, architecture, and garden design. Mr.
Watsky.
Prerequisite: Art 105-106, or by permission of instructor.
Alternate years: not offered in 1999/00.
[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 media, 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.
Not offered in 1999/00.
[260b. Mirrors of Emperors, Vehicles of Pleasure: Japanese Art
(1)
of the Edo Period (16151868)]
A survey of the arts of this long period under warrior rule. The
role of the arts for the warrior rulers are examined. This is
a period when a newly affluent merchant class emerged as significant
patrons of the arts. The course examines developments in a range
of media, including painting, architecture, ceramics, and lacquer.
Mr. Watsky.
Prerequisite: Art 105106, or by permission instructor.
Not offered in 1999/00.
262a. The Art of the First Half of the Nineteenth Century (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.
263b. The Art of the Second Half of the Nineteenth Century (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.
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.
[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.
Not offered in 1999/00.
[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 1999/00.
[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. Mr. Adams.
Prerequisite: Art 105-106, or 170, or by permission of instructor.
Not offered in 1999/00.
[272a. Modern Architecture] (l)
European and American architecture and city building (1800-1930)
from the Industrial Revolution to World War II; emphasis on the
development of modernism in the work of Walter Gropius, Le Corbusier,
Mies van der Rohe, and Frank Lloyd Wright. Mr. Adams.
Prerequisite: Art 105-106, or 170, or by permission of instructor.
Not offered in 1999/00.
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.
282a. Survey of AfricanAmerican Arts (1)
(Same as Africana Studies 282) This class serves as an introduction
to the artistic 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, 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,
historical, and aesthetic contexts. Ms. Collins.
Prerequisite: Art 105106 or by permission of instructor.
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.
III. Advanced
Prerequisite for advanced courses: 3 units of 200-level work or
the equivalent. By permission.
300 a 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.) Portraiture. A study of portrait sculpture
of Hellenistic rulers, Roman Republican dynasts, and emperors
with emphasis on the political roles of the imagery. Topics include
the question of the representation of individuals versus types
(the warrior, statesman, etc.), the funerary functions of portraits
and their significance in preserving memory. Special consideration
is given to portraits of those less visible in ancient society
(women, children, and members of the lower social orders). Ms.
D'Ambra.
Prerequisite: permission of instructor.
One 2-hour period.
Not offered in 1999/00.
320b. Seminar in Medieval Art (1)
The Romanesque church of the Magdalene at Vézelay. An investigation
of the architectural and sculptural programs of the abbey church,
and a close reading of the Vezelay Chronicle, written at Vézelay
c. 1138-1161. Clerical passions, comital raids, massing of pilgrims,
theft of relics, communal violenceall seen through the lens of
the Chronicleset the historical backdrop. Mr. Huenink.
Prerequisite: permission of instructor.
330a. Seminar in Baroque Art (1)
Topic and instructor to be announced.
Prerequisite: permission of instructor.
One 2-hour period.
331a. Seminar in Northern Art (1)
Sight and Insight in the Age of Observation. An exploration of
the Dutch fascination with vision and visuality. The seminar examines
sources of this preoccupation in van Eyck, Bruegel, and Durer
and its later manifestation in seventeenth century art and thought.
Among other topics: the influence of the camera obscura on Vermeer
and his contemporaries, Rembrandt's narratives involving sight
or blindness, and the relationship between Dutch still life painting
and botanical illustration. Ms. Kuretsky.
Prerequisite: Special permission.
One 2 hour period.
332b. Seminar in Italian Renaissance Art (1)
Instructor and subject to be announced.
Prerequisite: permission of instructor.
One 2-hour period.
358b. Seminar in Asian Art (1)
Topic and instructor to be announced.
Prerequisite: permission of instructor.
One 2-hour period.
362b. Seminar in Nineteenth-Century Art (1)
(Same as Art/Anthropology 384b.)
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 session.
370b. Seminar in Architectural History (1)
(Same as Philosophy 370b.) Philosophy and Architecture at the
Millennium. The significance of architectural metaphors such as
ground, construction, edifice, and foundation within the Western
metaphysical tradition as well as the philosophical statements
articulated by twentieth century architecture. These parallel
lines of inquiry will travel through a number of theoretical stationsmodernity
and postmodernity, foundationalism and antifoundationalism, deconstruction
and poststructuralismtrying to provide both a remapping and a
critical assessment of philosophy and architecture at the millennium.
(Readings/Buildings by Eisenman, Tschumi, Gehry, Koolhaas, Hegel,
Nietzsche, Heidegger, Derrida, Deleuze.) Class registration is
divided between art and philosophy majors. Giovanna Borradori
and Nicholas Adams.
Prerequisite: permission of the instructors.
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.
Topic for 1999/00: The Museum Collection as a Social and Political Statement. An historical view of the museum as communicator of values of
a particular time and place from the founding of the Louvre in
the eighteenth century to Vassar's collection in the present day.
Mr. Mundy.
Prerequisite: permission of instructor; 3 units of 200-level art
history.
Enrollment limited.
380a. Seminar in the History of Printmaking (1)
History of the Print in Western Europe, 14801830. Students learn
the primary elements of connoisseurship by studying original works
of art in the important and comprehensive print collections at
the Frances Lehman Loeb Art Center. They also investigate the
industry of making and selling prints in both northern and southern
Europe as a means to understand better the evolution of media
and styles during this period of 350 years. Ms. Consagra.
Prerequisite: permission of instructor.
One 2hour period.
381b. Creativity and Politics in the Harlem Renaissance and the
WPA (1)
(Same as Africana Studies 381b) 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 twenties and New Deal projects of the thirties and forties.
Analyzing sculpture, photographs, paintings, literature, "folk"
arts, murals, illustrations, manifestos, performances, and various
systems of patronage, we explore relationships between art, politics,
and society. Cultural workers we investigate include: Meta Warrick
Fuller, Alain Locke, W.E.B. Du Bois, Winold Reiss, Nella Larsen,
Aaron Douglas, Josephine Baker, Archibald Motley, Doris Ulmann,
James VanDerZee, Elizabeth Catlett, Jacob Lawrence, William Edmondson,
and FSA photographers. Ms. Collins.
Prerequisite: permission of instructor.
One 2hour session.
384a. Seminar in Nineteenth Century Art (1)
(Same as Anthropology 384) The Archive, the Museum, and the Ruin:
Conserving the Past in Modern Europe. Ranging from the archive
to the monument, from the tableau d'histoire to the newspaper
illustration, from the private museum to the universal exposition,
this course examines how the historical past is reconstructed,
represented and given visual form as an object of knowledge during
the nineteenth and twentieth centuries. With focus on the metropolitan
cultures of Paris and London, the art historical component of
this course is concerned with different formations of museological
and commemorative space (poetic antiquarian, natural historical,
national collective), the inversion and mutability of the genres
in the nineteenth century French and English art (history painting
as genre painting, contemporary reportage as history painting),
and the endurance of the cult of ruins from the romantic into
the postmodern periods. Mr. Lukacher and Ms. Goldstein
Prerequisite: permission of instructors.
One 2-hour session.
385b. Seminar in American Art (1)
(Same as American Culture 385b). Designing Nature: Landscape Painting,
Literature, and Gardens in Antebellum America. This seminar examines
the vital concern for picturesque landscapeboth actual and fictivein
American arts of the early nineteenth century. The course investigates
the relationship of important innovators in landscape design,
such as Downing, to the literary and artistic works of Cole, Durand,
Irving, Emerson, Thoreau, and others. We also explore the continuing
impact of antebellum landscape traditions at several representative
sites in the Hudson River Valley. Ms. Lucic, Mr. Peck.
Prerequisite: permission of instructors.
One 2hour session.
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; other instructors to be announced.
Open to all classes.
Two 2-hour periods.
[108b. Color] (1)
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.
Not offered in 1999/00.
II. Intermediate
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. Instructor
to be announced.
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. Instructor to be announced.
Prerequisite: Art 102a or by permission of instructor.
Two 2-hour periods.
Alternate years.
212b. Photography (1)
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. Instructor to be announced.
Prerequisites: Basic Drawing and one other Art Department course
or by permission of instructor. A photography portfolio is required.
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.
III. Advanced
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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