Art Department

Professors: Nicholas Adams, Eve D’ Ambra (Chair), Frances D. Fergussonab, Susan D. Kuretsky, Karen Lucic, Brian Lukachera, Molly Nesbit, Harry Roseman; Associate Professors: Peter Charlap, Lisa Collinsa, Jacqueline Marie Musacchio, Andrew Watskya;Assistant Professor: Laura Newmanb;Lecturer: James Monday; Adjunct Assistant Professors: Anne Bertrand-Dewsnap, Richard Bosman, Isolde Brielmaier, Gina Ruggeri, Jessica Winston; Adjunct Assistant Professor: Glenn Forley; Adjunct Instructor: Judith Linn.

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.

[120a. Viewing and Reading Race in Today’s Visual Culture] (1)

This course explores ideas and representations of race, specifically as they relate to people of African descent in today’s global visual culture. Focusing on the twentieth-first century, we consider ways of viewing and reading race in contemporary visual art, film, video, mass media, fashion, advertising and music. Readings, short papers, group assignments, films and videos, museum and gallery visits. Ms. Brielmaier.

Open to freshmen. Limited enrollment.

Two 75-minute periods.

Not offered in 2006/07.

180b. The Architecture of Home (1)

The architectural form of the private house responds quickly to changes in society. At one moment it serves primarily as a form of representation, offering little space for private activity; at other times, it serves primarily as a refuge for the nuclear family offering little public role. We examine the changes in the role of the home over time with special emphasis on present and future visions of domestic life. Among the subjects to be covered are the kitchenless house, the artist (and architect’s house), the house as gendered space, the palace as home, houses for the homeless, the contemporary wired house (or unprivate house). Films, novels, and poetry, as well as site visits, help us understand the values being represented in the houses we study. Mr. Adams.

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.

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 2006/07.

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.

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. Instructor to be announced.

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. Instructor to be announced.

Prerequisites: Art 105, or Medieval Studies, or by permission of instructor.

Two 75-minute periods.

[230b. 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 2006/07.

231b. Dutch and Flemish Painting in the Seventeenth Century (1)

An exploration of the new forms of secular and religious art that developed during the 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.

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 relation 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 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, religious, popular, devotional, 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.

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) This course explores the ways in which sculpture, textiles, painting, drawing, and photography function both historically and currently in relationship to particular themes such as religion, trade and diaspora (both Atlantic and Indian Ocean), political power and healing. We also consider the visual arts in relationship to ideas of improvisation, identity and self-representation, and forms of resistance. Ms. Brielmaier.

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

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

(Same as Africana Studies 254a) This course is organized thematically and examines the ways in which sculpture, architecture, painting, and photography function both historically and currently in relationship to broader cultural issues. Within this context, this course explores performance and masquerade in relationship to gender, social, and political power. We also consider the connections between the visual arts and cosmology, Islam, identity, ideas of diaspora, 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 the 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.

Two 75-minute periods.

Not offered in 2006/07.

[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.

Two 75-minute periods.

Not offered in 2006/07.

[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 2006/07.

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.

Alternate years: offered in 2006/07.

[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.

Not offered in 2006/07.

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)

(Same as Media Studies 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.

265b. Modern Art and the Mass Media, 1929-1968 (1)

(Same as Media Studies 265a) 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.

266b. 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. Ms. Nesbit.

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

Two 75-minute periods.

Not offered in 2006/07.

270a. Renaissance Architecture (1)

European architecture and city building from 1300-1500; focus on Italian architecture and Italian architects; encounters between Italian and other cultures throughout Europe and the Mediterranean. Mr. Adams.

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

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. Instructor to be announced.

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

Not offered in 2006/07.

272b. 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.

Not offered in 2006/07.

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) 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 toward privacy, domesticity, and nature. Ms. D’Ambra.

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2006/07.

[320b. Seminar in Medieval Art] (1)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2006/07.

[330a. Seminar in Baroque Art] (1)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2006/07.

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)

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.

354b. Seminar in African Art (1)

(Same as Africana Studies 354) 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, photography, video, and installation. 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) have simultaneously presented the artist with new problems and new venues for visual presentation. 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.

358b. Seminar in Asian Art (1)

The Japanese Print. An examination of Japanese wood-block prints from the seventeenth through the nineteenth century. The seminar considers such issues as the technical aspects of producing wood-block prints; the varied subject matter, including the “two wheels of the vehicle of pleasure” (prostitution and theater), the Japanese landscape, and the burgeoning urban centers; and, the links between literature and prints, especially the often parodic reworking of classical literary themes in prints. Mr. Watsky.

Prerequisite: permission of instructor.

One 2-hour period.

[362a. Seminar in Nineteenth-Century Art] (1)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2006/07.

364a. Seminar in Twentieth-Century Art (I)

The Shape of Change. It has been a while since the world appeared as it did to Heidegger—as a picture. What shape, then, does the world take? Or, is it better to turn George Kubler’s Shape of Time sideways and ask about the shape of change? The seminar studies the global condition of present day culture. That there continues to be no consensus on its definition enables us to explore the active critical problems as steps in a larger trajectory inherited from the utopian experiments of the 1970s and the use they made of materialism. These questions are examined through the work of Matthew Barney, Tacita Dean, Olafur Eliasson, Thomas Hirschhorn, Pierre Huyghe, Gabriel Orozco, Martha Rosler, Allan Sekula, Rirkrit Tiravanija and Andrea Zittel. Ms. Nesbit.

Prerequisite: permission of instructor.

One two-hour period.

[366a. 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 the Womens’ 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.

Not offered in 2006/07.

370a. Seminar in Architectural History (1)

(Same as Urban Studies 370) Architecture and Historic Preservation: the Vassar Campus and the Twentieth Century. Students read and assess twentieth century architecture on the Vassar Campus for its significance for historic preservation. Presentations and discussion trace the evolution of architectural expression with the history of the last century, with particular attention to Vassar’s major Modern buildings. Presentations and papers rely on immediate on-site investigations and experience and research and documentation in history and the history of architecture. The course is sponsored by the Getty Foundation Heritage Grant program and is jointly taught by Nicholas Adams and Paul Byard, Director of the Historic Preservation Program at the Columbia University Graduate School of Architecture, Planning and Preservation and a principal of Platt Byard Dovell White Architects in New York. Mr. Adams, Mr. Byard.

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 16,000 objects in the permanent and loan collections at the Francis Lehman 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. Mr. Mundy.

Prerequisite: permission of instructor.

One 2-hour period.

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

The Idea of Artistic Identity in the Renaissance. This seminar examines the emergence of the artist as creative individual, alongside poets and philosophers. The place of art theory and the ways it enabled artists to assert their identity through the manipulation of style are discussed. Most classes are held at The Metropolitan Museum of Art in New York City, and organized around specific paintings, drawings, and prints in the collection. Transportation provided. Mr. Christiansen.

Prerequisite: permission of the chair.

One two-hour period.

Six-week course.

385a. Seminar in American Art: The Art of Nature: Painting, Literature, and Landscape Design in the Hudson Valley (1)

(Same as American Culture 385a) This seminar examines the vital concern for picturesque landscape—both actual and imaginary—in the evolution of art and cultural expression in the Hudson River Valley. The course investigates the relationship of important innovators in landscape design, such as Downing, Vaux, and Olmsted, to the literary and artistic works of Cole, Durand, Irving, Bryant, and others. It concludes by considering contemporary artists’ engagement with landscape, such as Christo and Jeanne-Claude’s “Gates” in Central Park, William Clift’s photographs, Peter Hutton’s films, Andy Goldsworthy’s wall at Storm King and the installations of the Minetta Brook Hudson River Project, such as Christian Muller’s earthwork at Bard College. The course includes several fieldtrips to study the continuing impact of nineteenth-century landscape theory and traditions in New York City and the Hudson River Valley. Ms. Lucic, Mr. Peck.

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.

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. Ms. Ruggeri.

Prerequisite: Art 102a.

Two 2-hour periods.

208a. Printmaking: Introduction (1)

A variety of printmaking concepts and procedures are explored through a series of assignments in monotype and collagraph. Mr. Bosman.

Corequisite: Art 102a.

Two 2-hour periods.

209b. Printmaking: Intaglio (1)

The intaglio techniques of line etching, aquatint, and drypoint, as well as their variations, are applied to making both black and white and color prints. Mr. Bosman.

Prerequisite: Art 102a.

Two 2-hour periods.

Alternate years.

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

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.

214a. Color Digital Photography (1)

This course examines how color in light delineates space and form. The goal of this class is to record this phenomenon as accurately as possible. Scanning traditional silver gelatin film and digital capture systems are utilized. Digital color prints are produced using Photoshop 7 and inkjet printing. Some of the topics covered are the documentary value of color information, the ability of the computer program to idealize our experience of reality, and the demise of the latent image. Ms. Linn.

Prerequisite: Art 212 or 213 and/or permission of the instructor.

Two 2-hour periods.

[232a. 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.

Not offered in 2006/07.

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. Mr. Roseman.

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

Two 2-hour periods.

379b. Computer Animation: Art, Science and Criticism (1)

(Same as Computer Science 379b and Media Studies 379b) An interdisciplinary course in Computer Animation aimed at students with previous experience in Computer Science, Studio Art, or Media Studies. The course introduces students to mathematical and computational principles and techniques for describing the shape, motion and shading 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. 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. Forley.

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. Forley.

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. Forley.

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.