Art Department

Professors: Nicholas Adamsab, Eve D’Ambrab, Frances D. Fergusson (and President), Susan D. Kuretsky, Karen Lucic (Chair), Molly Nesbita, Harry RosemanaAssociate Professors: Peter Charlapb, Peter Huenink, Brian Lukacher, Andrew Watsky; Assistant Professors: Lisa Collinsa, Jacqueline Marie MusacchiobLecturer: James Mundy; Adjunct Assistant Professors: Richard Bosman, Isolde Brielmaier, Laura Newman, Barry Price, Gina Ruggeri, Jessica Winston; Adjunct Instructors: Merrill Falkenberg, Judith Linn, Joyce Robbins.

ab Absent on leave for the year.

a Absent on leave, first semester.

b Absent on leave, second semester.

Requirements for Concentration in Art History: The major consists of a minimum of 12 units. 10 units, including Art 105-106, must be in graded art history courses taken at Vassar. 2 units may be taken in studio art and/or architectural design, or may be transferred from work completed outside of Vassar, such as courses taken Junior Year Abroad.

Distribution: 6 units must be divided equally between groups A, B, and C. 1 unit in group D (African or Asian) may be substituted for a unit from any of the other three groups and 1 unit taken JYA may also be applied to meet this distribution requirement. 3 units must be in 300-level art history courses: two seminars in different art historical groups and 301 (senior project). 300-level seminars are to be selected on the basis of courses in the same area already taken on the 200-level. Majors are also urged to take a 300-level seminar before 301.

  1. Ancient
    Medieval
  2. Renaissance
    Seventeenth Century
  3. Nineteenth Century
    Twentieth Century
    American
    African American
  4. Asian
    African

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. Studio majors are required to attend and participate in the majors’ critiques.

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 2004/05.

[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 2004/05.

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

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.

[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 2004/05.

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 and monumental 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 2004/05.

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. Instructor to be announced.

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.

Not offered in 2004/05.

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.

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, Eastern, and Southern Africa (1)

(Same as Africana Studies 253b) An introduction to the arts of central, eastern and southern Africa and the African Diaspora. This course is organized thematically and examines the ways in which the visual arts-sculpture, textiles, architecture, painting, photography-function both historically and currently in relationship to broader cultural issues. Within this context, the course considers the connections between art and religion, trade, gender, cosmology, identity, political power, colonialism and post-colonialism, as well as the representation of the ‘Self’ and the ‘Other.’ Ms. Brielmaier.

Prerequisite: Art 105-106, or one 200-level course in Africana Studies or by permission of instructor.

254a. The Arts of Western and Northern Africa (1)

(Same as Africana Studies 254a) An introduction to the arts of western and northern Africa and the African Diaspora. This course is organized thematically and examines the ways in which the visual arts-sculpture, textiles, architecture, painting, photography-function both historically and currently in relationship to broader cultural issues. Within this context, the course considers the connections between art and religion, gender, cosmology, identity, political power, colonialism and post-colonialism, as well as the representation of the ‘Self’ and the ‘Other.’ Ms. Brielmaier.

Prerequisite: 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 Qing 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 2004/05.

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 2004/05.

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 2004/05.

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.

264b. The Avant-Gardes, 1889-1929 (1)

(Same as Media Studies Development 264a) 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.

[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.

Not offered in 2004/05.

[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.

Not offered in 2004/05.

[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. Ms. Nesbit.

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

Two 75-minute periods.

Not offered in 2004/05.

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.

[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.

Not offered in 2004/05.

[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.

Not offered in 2004/05.

285a. Introduction to Video Art (1)

This course provides an introduction to the history of video art. Topics to be considered include: video activism and media critique, phenomenology and video installation, interaction and feedback. We discuss the work of artists such as: Nam June Paik, Bruce Nauman, Vito Acconci, Pipilotti Rist, Diana Thater, Gary Hill, Bill Viola and Shirin Neshat. Ms. Falkenberg.

Prerequisite: Art 105-106, or 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)

(Same as Classics 310)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2004/05.

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, Conques, Stavelot, Cluny, the Ste-Chapelle. Mr. Huenink.

Prerequisite: permission of instructor.

One 2-hour period.

330a. Seminar in Baroque Art (1)

Caravaggio. This seminar explores the life and work of the seventeenth-century painter Caravaggio. We read both seventeenth-century sources and modern, often conflicting, interpretations to provide a critical framework for the reception of his images. Ms. Winston.

Prerequisite: permission of instructor.

One 2-hour period.

331b. Seminar in Northern Art (1)

Time and Transformation in Seventeenth-Century Dutch Art. An exploration of the seventeenth-century obsession with the transformative effects of time and circumstance on the physical world as manifested in themes that evoke notions of temporality and in images of the fragmentary such as ruins. The seminar has been planned to coincide with a large loan exhibition of Dutch paintings, drawings and prints, opening at the Loeb Art Center in April 2005. Ms. Kuretsky.

Prerequisite: permission of instructor.

One 2-hour period.

[332b. Seminar in Italian Renaissance Art] (1)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2004/05.

354a. Seminar in African Art (1)

The Contemporary Arts of Africa. This seminar focuses on the content and form of contemporary visual production in Africa, considering the ways in which African artists across the continent have negotiated various themes. Exploring sculpture, painting and photography, emphasis is placed on the changing meanings of art within African contexts. As a part of this process, the tension between the “tribal” or “traditional” and the “contemporary” or “(post) modern” is examined with respect to the ways that the advent of “national” culture as well as outside factors (colonialism, Christianity, Islam, European art education, and international tourism) has simultaneously presented the artist with new problems and new venues for visual production. We also consider issues concerning the representation of the “other” within African contexts as well as issues of “authenticity.” Ms. Brielmaier.

Prerequisite: permission of instructor.

One two-hour period.

[358a. Seminar in Asian Art] (1)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2004/05.

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 (I)

Installation Art. This course examines the history of installation art, from its origins in the 1960s, with the advent of minimal art to the diverse practices that characterize the art form today. We consider the work of the following artists: Robert Smithson, Gordon Matta-Clark, Richard Serra, Anish Kapoor, Ilya Kabakov, David Hammons, Ann Hamilton, Mariko Mori and several others. Among the themes considered are site-specificity, documentation, audience interaction, time and narrative, and the relationship between artist, artwork, and institution. Ms. Falkenberg.

Prerequisite: permission of instructor.

One two-hour period.

366b. Seminar in African American Art and Cultural History (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.

370a. Seminar in Architectural History (1)

Topic for 2004/05a: Images of Power: Patronage and the Early Modern Court. This course explores the way that the arts, understood broadly, were used to represent the political structure of sixteenth and seventeenth-century courts. We focus principally on the French court of Louis XIV, although rival courts in England, Italy, Spain and Austria are discussed. The course follows a two-part format: we begin with segments on the organization of court life, the nature of patron-client relationships, and the role and status of the prince. Then, in the second half of the semester, we address the way these conditions were reproduced in various forms of artistic and cultural patronage, including the decoration and planning of palaces, the conduct of rituals and ceremonies, the design of festivals, the establishment of scientific and literary academies, and the large-scale collecting of art and curiosities.

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.

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

Topic for 2004/05a: Dia:Beacon and the Art of the 1960s and 70s. In May 2003, Dia Art Foundation opened a new museum in nearby Beacon, New York, to display its permanent collection. Dia:Beacon’s expansive galleries comprise 240,000 square feet of singular and in-depth installations of some of the most important artists who emerged in the 1960s and 70s, including Bern and Hilla Becher, Joseph Beuys, Louise Bourgeois, John Chamberlain, Hanne Darboven, Walter De Maria, Dan Flavin, Michael Heizer, Robert Irwin, Donald Judd, On Kawara, Imi Knoebel, Sol LeWitt, Agnes Martin, Bruce Nauman, Blinky Palermo, Gerhard Richter, Robert Ryman, Fred Sandback, Richard Serra, Robert Smithson, Andy Warhol, and Lawrence Weiner. Ranging from Andy Warhol’s silkscreen Shadow Paintings to Michael Heizer’s Negative Sculpture defining a space twenty feet beneath the gallery floor, these artists challenged some of the most basic premises of traditional painting and sculpture of the past, and created precedents for much of the art that has been made in the past few decades. Classes meet at Beacon. Time is divided between the galleries and the classroom. Each meeting concentrates two or three artists on view. In total, the course provides an overview of the major ideas and radical inventions of the art of the 1960s and 70s. Mr. Govan.

Prerequisite: permission of the chair.

One two-hour period on site at DIA:Beacon.

Six-week course.

385b. Seminar in American Art (1)

Modernity and the Movies: The Material Culture of Hollywood Films in the 1940s and 1950s. This course examines the contribution of set designs, costumes, hair styles, and body types to the narrative structures of classic Hollywood films. The goal is to appreciate filmmakers’ creative adaptation of American material culture and to understand the complex and often conflicting attitudes toward modernity in the mid-twentieth century. The course includes films with striking design concepts that invoke industrial, technological, and urban modernity. Retreat from modernity into a small town or suburban pastoralism is also considered. Filmmakers include Alfred Hitchcock, Douglas Sirk, William Wyler, Vincent Minnelli, and Billy Wilder. Ms. Lucic.

Prerequisite: permission of instructor.

One 2-hour period and one weekly film screening.

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

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.

108a. 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. Ms. Robins, 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 2004/05.

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)

An investigation of the visual language of black and white photography. The technical and expressive aspects of exposing film, developing negatives, and printing in the darkroom are explored. No previous photographic experience is necessary. Students are required to provide their own camera, film and photographic paper. Ms Linn.

Prerequisites: Art 102-103.

One 4-hour period.

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 esthetic. All students are required to supply their own camera, film, and photographic paper. Ms Linn.

Prerequisite: permission of the instructor.

One 4-hour period.

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)

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. Ms. Robins, Mr. Roseman.

Prerequisite: Art 204a-205b or by permission of instructor.

Two 2-hour periods.

388b. Computer Animation: Art, Science and Criticism (1)

(Same a Computer Science 388b, Media Studies Development Project 388b) An interdisciplinary course in Computer Animation aimed at students with previous experience in Computer Science, Studio Art, or Media Studies, but not necessarily more than one of these areas. The course introduces students to mathematical and computational principles and techniques used to describe the shape and motion of three-dimensional figures in Computer Animation. It introduces students to artistic principles and techniques used in drawing, painting and sculpture, as they are translated into the context of Computer Animation. It also encourages students to critically examine Computer Animation as a medium of communication. Finally, the course exposes students to issues that arise when people from different scholarly cultures attempt to collaborate on a project of mutual interest. The course is structured as a series of animation projects interleaved with screenings and classroom discussions. Students carry out their projects working in pairs or small groups, using state-of-the-art modeling and animation software. In classroom discussions students critically evaluate their project work, and reflect on the process of interdisciplinary collaboration itself. Mr. Ellman, Mr. Roseman.

Prerequisite: Art 102-103, or by special permission of instructors.

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

275a. Architectural Drawing (1)

Elements of architectural drawing, focusing on the articulation, development and representation of architectural form. The first of a two-course sequence, drawing techniques include Multiview, paraline and perspective, with emphasis placed on the objective utilization of these techniques. Mr. Price.

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 form. The second of a two-course sequence, drawing techniques include Multi-view, paraline and perspective, with emphasis placed on the analytical utilization of these techniques. Mr. Price.

Special permission.

Prerequisite: Art 275, corequisite: one of the following 200 level architectural history courses: Art 220, 270, 272 or 273.

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, and one 1-hour period.