Art Department

Professors: Nicholas Adams, Eve D’Ambraab, Frances D. Fergusson (and President), Susan D. Kuretsky, Karen Lucic, Molly Nesbitb, Harry Roseman; Associate Professors:Peter Charlap, Peter Huenink, Brian Lukacher, Andrew Watsky a; Assistant Professors: Lisa Collins a, Jacqueline Marie Musacchio; Lecturer: James Mundy;Adjunct Assistant Professors: Richard Bosman, Laura Newman, Barry Price, Gina Ruggeri; Adjunct Lecturer: Jessica Winston; Adjunct Instructor: Judith Linn.

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 Century C) Twentieth Century D) 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.
 
[160a. Social Movements and Visual Culture in the United States]
(1)
This course examines the relationships between visual culture and social movements in the United States. Focusing on the twentieth century, we explore connections between art, politics, and society. Ms. Collins.
       Open to freshmen. Limited enrollment.
       Two 75-minute periods.
       Not offered in 2003/04.
 
[170b. 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 covers architecture and city-making in a historical context. Primary source readings and field trips. Mr. Adams.
       Open to all classes.
       Two 75-minute periods.
       Not offered in 2003/04.
 
[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 2003/04.
 

II. Intermediate

 
[210a. 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 city-state and marked religious cults and the rituals of everyday life. Ms. D’Ambra.
       Prerequisite: Art 105-106 or Classics 216 or 217, or by permission of instructor.
       Two 75-minute periods.
       Not offered in 2003/04.
 
[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 105-106 or Classics 218 or 219, or by permission of instructor.
       Two 75-minute periods.
       Not offered in 2003/04.
 
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.
 
231b. Northern Baroque Painting
(1)
An exploration of the new forms of secular and religious art that developed during the so-called 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 75-minute periods.
 
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 in Italy
(1)
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 contexts 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 and France
(1)
An examination of the dominant trends and figures of the Italian and French baroque period. This course explores the works of major masters including Caravaggio, Bernini, Poussin, and La Tour, as well as such issues as the development of illusionistic ceiling decoration, the theoretical basis of baroque art, the relationship of art to the scientific revolution, 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.
 
243b. Art and Ideas of the Golden Age in Spain
(1)
This class addresses painting and sculpture in Spain during the sixteenth and seventeenth centuries. We explore the art of major figures, such as El Greco, Diego Velazquez and Francisco de Zurbarán, as well as those who are less familiar. Artists and ideas are considered in their cultural context: monastic, popular religious, court and bourgeois. In addition, we examine the use of art to expand the empire, both politically and religiously, in the New World. Ms. Winston.
       Prerequisite: Art 105-106, or by permission of instructor.
       Two 75-minute periods.
 
[250a. Change and 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.
       Two 75-minute periods.
       Not offered in 2003/04.
 
251b. The Challenge 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 present-day 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.
       Prerequisite: Art 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 present-day 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.
       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 2003/04.
       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 2003/04.
       Two 75-minute periods.
 
[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 several—often contrasting—aesthetic 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.
       Two 75-minute periods.
       Not offered in 2003/04.
 
260b. Mirrors of Emperors, Vehicles of Pleasure: Japanese Art
(1)
of the Edo Period (1615-1868)
       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, 1889-1929]
(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.
       Two 75-minute periods.
       Not offered in 2003/04.
 
265a. Modern Art and the Mass Media, 1929-1968
(1)
(Same as Media Studies Development 265) 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-minute 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 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.
       Two 75-minute periods.
 
268b. The Times, 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. Instructor to be announced.
       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.
       Not offered in 2003/04.
 
[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 2003/04.
 
272a. Modern Architecture
(1)
The period from 1800-1930 represents the period of the richest change in the history of architecture. Beginning with the transformation of the nature of architecture and architectural practice with Ledoux and Boullée it ends with the sparkling manifestoes of modernism and the extravagant experiments of Le Corbusier. Among the architects we cover are K. F. Schinkel, William Butterfield, Frank Lloyd Wright, and the first architects of Modernism such as Walter Gropius, Mies van der Rohe, and Le Corbusier. 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.
       Two 75-minute periods.
 
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. The department.
       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.
       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 of the Art Department.
 
301a or b. Senior Project
(1)
Supervised independent research culminating in a written paper.
 
[310b. Seminar in Ancient Art]
(1)
Prerequisite: permission of instructor.
       One 2-hour period.
       Not offered in 2003/04.
 
320b. Seminar in Medieval Art
(1)
“Workshops of Vulcan:” The Industry of the Sacred Arts in the Middle Ages. Beauty to the medieval eye did not refer first to something abstract and conceptual. Artists and architects played in the first instance to the medieval love of the sensible world. Treasuries of abbeys and cathedrals were crammed with jewelry and objets d’art, and sanctuaries were saturated with images in gold, enamel, and precious glass. This seminar on the artistic adornment of architecture centers in the Royal Abbey of St.-Denis under the abbacy of Suger in 1140’s Paris. Additional treasure troves in the constellation of St.-Denis are featured such as Aachen, Stavelot, Cluny, the Ste-Chapelle. Mr. Huenink.
       Prerequisite: permission of instructor.
       One 2-hour period.
 
[330b. Seminar in Baroque Art]
(1)
Prerequisite: permission of instructor.
       One 2-hour period.
       Not offered in 2003/04.
 
331a. Seminar in Northern Art
(1)
Master Printmakers: the Art of Dürer and Rembrandt. Concentrating on original engravings and etchings in the collection of the Frances Lehman Loeb Art Center at Vassar, this seminar explores the origins and development of printmaking during the Renaissance and Baroque periods, with primary focus on the medium’s greatest innovators: Albrecht Dürer and Rembrandt van Rijn. Ms. Kuretsky.
       Prerequisite: permission of instructor.
       One 2-hour period.
 
332b. Seminar in Italian Renaissance Art
(1)
Representing Renaissance Women. Portraits of Italian Renaissance women both reflect and deny historical reality. In seeking to understand their lives, we must come to terms with the ways they were represented, the reasons for their representation, and what these representations meant to both the women and their viewers. This seminar investigates how portraiture as a genre advertised, celebrated, educated, and commemorated women. Our primary evidence is the many painted and sculpted portraits of Renaissance women executed from circa 1420 to 1600. In addition to recent art historical studies on the history and nature of portraiture, we establish a context for the portraits through a close reading of interdisciplinary sources such as contemporary literature, documents, and texts, sumptuary legislation, costume history, and material culture studies. Ms. Musacchio.
       Prerequisite: permission of instructor.
       One 2-hour period.
 
[358a. Seminar in Asian Art]
(1)
Prerequisite: permission of instructor.
       One 2-hour period.
       Not offered in 2003/04.
 
362a. Seminar in Nineteenth-Century Art
(1)
Death in the Landscape: Poussin/Turner/Tarkovsky. This seminar considers three episodes in the history of landscape representation and the thematics of death and mourning: first, the philosophical and mythological landscape paintings of the seventeenth-century French artist Nicolas Poussin; second, the historical catastrophic vision of nature conjured by the English romantic landscapist J. M. W. Turner; and third, the meditative but no less apocalyptic reflections on the meaning of nature and humanity in the cinematic tableaux of the Russian filmmaker Andrey Tarkovsky. Through the study of these visual framings of the natural world, we examine the esthetic and ideological workings of the sublime, the lure of antiquity and the burden of memory, and the modern instrumentality of nature. Scholarly and theoretical readings from Kant, Adorno, Marin, and others. Mr. Lukacher.
       Prerequisite: permission of instructor.
       One 2-hour period.
 
364a. Seminar in Twentieth-Century 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: permission of instructor.
       One 2-hour period.
 
366b. Seminar in African American Art and Cultural History
(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.
 
370a. Seminar in Architectural History
(1)
The 1930s. A survey of architecture in Europe and America concluding with the outbreak of World War II. Themes include: relations between architectural modernism and the nation state; the development of social democracy; the nurturing of a consumer society through Worlds’ Fairs; architecture, and totalitarian regimes in Germany, Italy, and the Soviet Union; the migration of German architects to America; the program of the WPA. Among the architects we examine are Albert Speer, Marcello Piacentini, Le Corbusier, Gunnar Asplund, Frank Lloyd Wright. Key events include the Competition for the Palace of the Soviets, the Stockholm Exhibition, EUR, MoMA’s International Style Exhibition, the New York World’s Fair. Mr. Adams.
       Prerequisite: permission of instructor.
       One 2-hour period, films and site visits.
 
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.
 
382a. Belle Ribicoff Seminar in the History of Art
(1/2)
Topic for 2003/04a: The World Trade Center: Rise, Fall, and Aftermath. New York in the 1960s was the epicenter of modernism in art, architecture, and urban life. The ambitions of the era and its conflicts played out in the plans for the World Trade Center and in urban renewal efforts across Lower Manhattan. The seminar looks at the creation of the Trade Center in this context and considers the events of 9/11 as still unfolding history. How the site and the victims of the attack will be memorialized and the city will be reshaped are questions we explore. Ms. Willis.
       Prerequisite: permission of the chair.
       One 2-hour period, two field trips to New York.
       Six-week course.
 
385b. Seminar in American Art
(1)
Designs for Living in Hollywood Movies. This seminar investigates how American films of the 1920s and 1930s used stylish costumes, hairstyles, body language 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 Hans Dreier. We focus on issues of gender, consumerism, class mobility and other social transformations of early twentieth-century America. Ms. Lucic.
       Prerequisite: permission of instructor.
       One 2-hour period, plus one film screening per week.
 
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 2003/04.
 

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.
       Not offered in 2003/04.
 
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. 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. No previous photography experience required. A visual portfolio must be submitted.
       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.
 
281a. The Hudson River Observed
(1)
Drawing at sites along the Hudson River in Poughkeepsie with attention to the visible evidence of conservation, recreation, transportation and commerce. History, geology, and ecology of the river are also considered. 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.

 
275a. Architectural Drawing
(1)
Elements of architectural drawing, focusing on the articulation, development and representation of architectural forms. The first of a two course sequence, emphasis is placed on orthogonal and projection drawing techniques. Mr. Price.
       Special Permission.
       Prerequisite: Art 105-106, corequisite: one of the following 200 level architectural history courses: Art 220, 270, 272 or 273, or by permission of the instructor.
       Two 2-hour periods.
 
276b. Architectural Drawing
(1)
Elements of architectural drawing, focusing on the advanced articulation, development and representation of architectural forms. The second of a two course sequence, emphasis is placed on projection and perspectival drawing techniques. Mr. Price.
       Special permission.
       Prerequisite: Art 105-106, Art 275, corequisite; one of the following 200-level architectural history courses: Art 220, 270, 272 or 273.
       Two 2-hour periods.
 
301a or b. Senior Project
(1)
A supervised independent project in studio art.
 
302a., 303b. Painting II
(1)
This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting. Ms. Newman.
       Prerequisite: Art 202a-203b.
       Two 2-hour periods.
 
304a, 305b. Sculpture II
(1)
The first semester is devoted to the study of perception and depiction. This is done through an intensive study of the human figure, still life, landscape, and interior space. Meaning is explored through a dialectic setup between subject and the means by which it is visually explored and presented. Within this discussion relationships between three-dimensional space and varying degrees of compressed space are also explored. In the second semester we concentrate on the realization of conceptual constructs as a way to approach sculpture. The discussions and assignments in both semesters revolve around ways in which sculpture holds ideas and symbolic meanings in the uses of visual language. Mr. Roseman.
       Prerequisite: Art 204a-205b or by permission of instructor.
       Two 2-hour periods.
 
375b. Architectural Design
(1)
Elements of architectural design, focusing on the conceptualization, refinement and expression of architectural ideas. Mr. Price.
       Special permission.
       Prerequisite: Art 275 and 276, corequisite; two of the following 200-level architectural history courses: Art 220, 270, 272 or 273.
       One 3-hour period.
 
388b. Computer Animation: Art, Science, and Criticism
(1)
(Same as Computer Science 388 and Media Studies Development Project 388)
 
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