Art

Professors: Nicholas Adams, Frances D. Fergusson (and President), Susan D. KuretskybAssociate Professors: Peter Charlapb, Eve D'Ambra, Peter Hueninkb, Karen Lucica, Brian Lukacher (Chair), Molly Nesbit, Harry Roseman; Assistant Professors: Lisa Collinsa, Jaqueline Musacchio, Andrew Watsky; Lecturer: James Mundy; Adjunct Assistant Professor: Richard Bosman, Laura Newman; 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
  Medieval   Seventeenth Century   Twentieth Century   African
  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 2001/02.

180a. Beauty in Art and Culture (1)

We study the perceptions and nature of beauty in different cultures from the ancient Greeks to our contemporary obsessions with looks and appearances. Beauty of artistic form as well as of ideal body types are considered in terms of aesthetic debates, literary reflections, and the dictates of fashion and the media. Ms. D'Ambra.

Open to freshmen. Limited enrollment.

Two 75–minute periods.

[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 2001/02.


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 2001/02.

211b. 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.

Two 75–minute periods.

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.

Not offered in 2001/02.

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.

[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.

Not offered in 2001/02.

235a. Renaissance Painting, Sculpture, and Decorative Arts in Italy (1)

This course surveys a selection of the arts in Renaissance Italy, focusing primarily on Tuscany and central Italy from circa 1300 to circa 1500. This period witnessed the rise of the mendicant orders, the devastation of the Black Death, the growth of civic and private patronage, and finally, the exile of the Medici family, all of which had a profound impact on the visual arts. The work of major artists and workshops is examined and contextualized within their political, social, and economic settings by readings and discussions of contemporary texts and recent scholarship. Ms. Musacchio.

Prerequisite: Art 105–106, or by permission of instructor.

Two 75–minute periods.

236b. Sixteenth–Century Painting, Sculpture, and Decorative Arts (1)

in Italy

This course examines High Renaissance and Mannerist art in Italy. We focus in particular on Papal Rome, Ducal Florence, and Republican Venice, and the work of Leonardo da Vinci, Michelangelo, Raphael, Titian, and their followers in relationship to the social and cultural currents of the time. Issues such as private patronage, female artists, contemporary sexuality, and the interconnections between monumental and domestic art are examined in light of recent scholarship in the field. Ms. Musacchio.

Prerequisite: Art 105–106, or by permission of instructor.

Two 75–minute periods.

242a. Seventeenth–Century Painting and Sculpture in Italy, France, and Spain (1)

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.

Two 75–minute periods.

[250a. Inventing a Nation: Cultural Diversity in American Art from the Beginnings to 1865] (1)

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 2001/02.

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.

Two 75–minute periods.

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: 105–106, 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: Offered in 2001/02.

Two 75–minute periods.

[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: Not offered in 2001/02.

[259b. Warriors, Deities and Tea Masters: Japanese Art of the Momoyama Period (1568–1615)] (1)

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.

Not offered in 2001/02.

260b. Mirrors of Emperors, Vehicles of Pleasure: Japanese Art of the Edo Period (1615–1868) (1)

A survey of the arts during this long period of peace, when the Tokugawa shoguns ruled from their capital in Edo (present–day Tokyo). As sole arbiters of national authority, these warrior–class leaders expanded and transformed the traditional iconography of overt power, especially in painting and architecture. At the same time, the merchant class emerged as significant sponsors of the arts and, among other contributions, introduced novel subject matter–sex and the theater–in paintings and prints. Older sources of art patronage, such as the Imperial Court and Buddhism, evolved their traditions in new directions. Mr. Watsky.

Prerequisite: Art 105–106, or by permission of instructor.

Two 75–minute periods.

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.

Two 75–minute periods.

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.

Two 75–minute periods.

[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.

Not offered in 2001/02.

265a. 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.

Two 75–minue periods.

[266a. African American Arts and Artifacts] (1)

(Same as Africana Studies 266) An introduction to the artistic and material production of African Americans in the U.S. from the colonial period to the present day. 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.

Not offered in 2001/02.

268b. Presence, 1968–now (1)

This course studies the visual arts of the last thirty years, in America and abroad, together with the often difficult discussion emerging around them. The traditional fine arts as well as the new media, performance, film and architecture are included. Ms. Nesbit.

Prerequisite: Art 264 or 265 or by permission of instructor.

Two 75–minute periods.

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. Mr. Adams.

Prerequisite: Art 105–106, or 170 or by permission of instructor.

Two 75–minute periods.

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.

Two 75–minute periods.

[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 2001/02.

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.

Prerequisite: permission of the Chair.

301a or b. Senior Project (1)

Supervised independent research culminating in a written paper.

310b. Seminar in Ancient Art (1)

(Same as Classics 310b) Pompeii: Public and Private Life. A study of the urban development of a Roman town with public buildings and centers of entertainment that gave shape to political life and civic pride. The houses, villas, and gardens of private citizens demonstrate intense social competition, as well as peculiarly Roman attitudes to privacy, domesticity, and nature. Ms. D'Ambra.

Prerequisite: permission of instructor.

One 2–hour period.

[320b. Seminar in Medieval Art] (1)

Prerequisite: permission of instructor.

One 2–hour period.

Not offered in 2001/02.

330b. Seminar in Baroque Art (1)

Artemesia Gentileschi. Today Artemesia Gentileschi is the best known female artist of the seventeenth century. In fact, this spring she is the subject of a major exhibition at the Metropolitan Museum. We consider the well–known facts of her biography, her notorious rape, her friendship with Galileo, and her appropriation of the latest currents in seventeenth–century art. We explore the unusual and gendered nature of violence in her art. And finally, we discuss the history and historiography of seventeenth–century painting and the reclamation of Artemesia as a woman artist at the center of the canon and all the familiarity and unfamiliarity this implies. 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)

Domestic Art and Ritual in Renaissance Italy. During the Italian Renaissance, major family events like birth, marriage, and death were marked by works of art and accompanying rituals. In this seminar we examine objects like birth trays, marriage chests, painted and sculpted portraits, and funerary monuments, as well as a wide range of related items that no longer survive. These objects are related to contemporary literature, account books, letters, and laws, as well as recent scholarship in art history, social history, and women's studies, to provide insight into Renaissance family life. Ms. Musacchio.

Prerequisite: permission of instructor.

One 2–hour period.

358a. Seminar in Asian Art (1)

(Same as Asian Studies 358) 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)

Ruskin, Baudelaire, and Art Criticism in Nineteenth–Century Europe. This seminar examines the art criticism and social opinions of John Ruskin and Charles Baudelaire, whose writings on English and French art and culture converged around the following issues: the instrumentality of nature in an industrial/urban society; the pleasures and tribulations of the commodity, fashion and femininity; the contesting claims of sensuality and morality in esthetic experience; and the nostalgia for the historical past. We explore how Ruskin and Baudelaire developed art criticism as a controversial medium for social and cultural commentary at the nexus of romanticism and modernism. Mr. Lukacher.

Prerequisite: permission of instructor.

One 2–hour period.

364a. Seminar in Twentieth–Century Art (1)

Photographs and Books. This seminar studies the relationship of photographs to books, both in theory and in practice, in the twentieth century. Ms. Nesbit.

Prerequisite: permission of instructor.

One 2–hour period.

366b. Seminar in African American Art (1)

(Same as Africana Studies 366) Creativity and Politics in the Harlem Renaissance and the WPA. 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, we explore relationships between art, politics, and society. Ms. Collins.

Prerequisite: permission of instructor.

One 2–hour period.

370b. Seminar in Architectural History (1)

Modernism and Political Modernization. How was the new abstract language of modern architecture adapted to represent political authority in the first half of the twentieth century? This seminar examines the techniques used by modernist architects to encode political authority in town halls, law courts, and congress buildings. Architects to include: Asplund, Terragni, Le Corbusier, Aalto, Speer, Tatlin. Mr. Adams.

Prerequisite: permission of instructor.

One 2–hour period.

378b. Seminar in Museum History, Philosophy, and Practice (1)

What the Art Object Can Tell Us. This seminar focuses only on original works of art from the over 15,000 objects in the permanent and loan collections at the Loeb Art Center. The class explores how history and society affect the creation and reception of art objects. Special attention is paid to patterns of collecting, conservation and connoisseurship. All seminar work is directed toward a small exhibition in the Art Center. Mr. Mundy.

Prerequisite: permission of instructor.

One 2–hour period.

382 Belle Ribicoff Seminar in the History of Art (1/2)

Topic for 2001/02b: Feminism and the Social History of Art. To explore the differences between feminism and social art history, this seminar concentrates on Degas and Gauguin. Degas, despite his early reputation as a misogynist, has drawn the favorable attention of more feminist art historians than any other artist, among them Carol Armstrong, Norma Broude, Anthea Callen, Hollis Clayson, and Eunice Lipton. Gauguin is more uniformly condemned by feminists, most famously by Abigail Solomon-Godeau. After an introductory session, four weeks are devoted to Degas, then two to Gauguin. The department.

One 2–hour period.

Prerequisite: permission of the chair.

6 week course.

385b. Seminar in American Art: The Southwest: Art, Ethnicity and the Environment (1)

(Same as American Culture 385 and Geography 385) An examination of the impact of place upon the three major culture groups–Native American, Hispanic American and Anglo–Americanthat coexist in the southwestern United States. The course studies selected examples of painting, crafts, architecture, photography and literature, which illustrate regional and ethnic identities. A diversity of landscapes from desert, canyon and mountain wilderness to pueblo villages, traditional cities such as Santa Fe, and modern urban sprawl are also considered. Changing expressions of social and environmental values in the 20th Century towards nature, progress, and ethnic history and identity are contested in issues, such as: historic preservation, water resources, nuclear power, and the transformation of social and political boundaries. The course may include a field trip to Santa Fe over Spring Break. Ms. Lucic and Mr. Flad.

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, Ms. Newman.

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 2001/02.


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.

206a: Not offered in 2001/02.

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.

212a. 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 PHOCUS (student photography organization) in order to gain darkroom access. Students are expected to supply their own camera, film, 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.

213b. Photography II (1)

This course explores the development of an individual photographic language. Technical aspects of exposure, developing, and printing are taught as integral to the formation of a personal visual aesthetic. All students are required to join PHOCUS and to supply their own camera, film and photographic paper. Ms. Linn.

Prerequisite: permission of instructor.

Two 2–hour periods.

280a. Drawing in the Landscape (1)

This course concentrates on drawing in the landscape. Issues of space, materials, and the meaning of landscape in a contemporary context are addressed. The class meets once a week at the Mohonk Preserve. Students need to be prepared to work outdoors in cold weather. Transportation is provided, if necessary. Mr. Charlap.

Prerequisite: permission of instructor.

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. Ms. Newman.

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.

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.

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.