Art

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 RosemanbAssistant 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.


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.

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.


III. Advanced

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.

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.


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. 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.

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. 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.


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.