Art Department

Professors: Nicholas Adamsb, Eve D’Ambraa, Frances D. Fergussonab, Susan D. Kuretskyb, Karen Lucic, Brian Lukacher, Molly Nesbita, Harry Roseman (Chair); Associate Professors: Peter Charlapa, Lisa Collins; Assistant Professor: Andrew J. Tallon, Laura Newman; Lecturer: James Mundy (and Director of the Frances Lehman Loeb Art Center); Adjunct Assistant Professors: Richard Bosman, Isolde Brielmaier, Gina Ruggeri, 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 during 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, printmaking or photography; 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.In order to receive credit for courses taken during Junior Year Abroad, students must submit a portfolio of work for review by the studio art faculty.

Advisers: the studio art faculty.

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 a 50 minute conference section.

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

This course draws on individual case studies to explore ideas and representations of race, specifically as they relate to people of African descent in today’s global visual culture. Focusing on the twenty-first century, we consider ways of viewing and “reading” race in contemporary visual art, film, video, mass media, fashion, advertising and music. Ms. Brielmaier.

Open to freshmen. Limited enrollment. Satisfies the Freshman Writing Seminar requirement.

Two 75-minute periods.

Not offered in 2008/09.

182a. They’re Back (1)

The representation of life on other planets has a long history that is not apparent in its usual representation in popular culture and the media. The course explores that context of our fascination with other worlds and forms of life in the visual arts, scientific treatises, fiction and film. In cultures as varied as those of ancient Greece to the contemporary global scene, the history of the alien has a surprisingly complex development. Ms.Winston

Open to freshmen. Limited enrollment

Two 75-minute periods

[190a. Images and Ideas: Exploring the Sense of Sight] (1)

An exploration of how various notions of seeing (as perception, as recognition, as revelation) have been treated in the visual arts and in literature. Class meetings take place in the Frances Lehman Loeb Art Center so that students may make regular use of Vassar’s extensive art collection. Ms. Kuretsky.

Open to freshmen. Limited enrollment.

Two 75-minute periods.

Not offered in 2008/09.

II. Intermediate

210b. Greek Art and Architecture (1)

(Same as Classics 210). An introduction to the visual arts, particularly sculpture, vase painting, and architecture, of the ancient Greek world from the beginning of the Protogeometric (1050 BCE) to the end of the Hellenistic period (31 BCE). Critical issues of study include materials, techniques, functions, connoisseurship, iconographic analysis and iconological interpretation. New archaeological discoveries and on-going debates will be highlighted. Immediate first-hand experience and study of artworks is encouraged through trips to regional collections, including the recently reinstalled galleries of the Metropolitan Museum of Art. Mr. Abbe.

Prerequisite: Art 105‑106 or Classics 216 or 217, or by permission of instructor.

One weekly two and half hour period.

[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 2008/09

220a. Medieval Architecture. (1)

A survey of the greatest moments in Western, Byzantine and Islamic architecture from the reign of Constantine to the late middle ages and the visual, symbolic and structural language developed by the masters and patrons responsible for them. Particular attention is paid to issues of representation; the challenge of bringing a medieval building into the classroom, that of translating our impressions of these buildings into words and images, and the ways in which other students and scholars have done so. Mr. Tallon

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)

A selective chronological exploration of the art of western Europe from early Christian Rome to the late Gothic North, with excursions into the lands of Byzantium and Islam. Works of differing scale and media; from monumental and devotional sculpture, manuscript illumination, metalwork, to stained glass, painting and mosaic are considered formally and iconographically, but also in terms of their reception. Students work directly with medieval objects held in the Frances Lehman Loeb Art Center and with manuscripts in the Special Collections of the Vassar Library. Mr. Tallon

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

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

Not offered in 2008/09.

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

Topic and instructor to be announced.

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

Two 75-minute periods.

236b. Sixteenth-Century Painting, Sculpture, and Decorative Arts in Italy (1)

Topic and 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.

Not offered in 2008/09.

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.

257b. The Arts of China (1)

A survey of the major developments in Chinese art from the Neolithic period to the present, including archaeological discoveries, bronzes, sculpture, ceramics, architecture, calligraphy, and painting. The course explores factors behind the making of works of art, including social, political and religious meanings, while examining the historical contexts for and aesthetic principles of the arts of China. Ms. Giuffrida.

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

Two 75-minute periods.

258a. The Arts of Japan (1)

A survey of the major developments in Japanese art from prehistoric times to the present in a wide range of media, including sculpture, ceramics, architecture, calligraphy, painting, garden design, woodblock prints, film, and installations. Among topics covered are:  Buddhist art, narrative handscrolls, ink painting and portraiture associated with Zen, ceramics for tea ceremony, Edo and Meiji period woodblock prints, and Western and Chinese influences on Japanese artists. Modern and contemporary filmmakers and artists such as Isamu Noguchi, Akira Kurosawa, Yayoi Kusama, Yasumasa Morimura, and Takashi Murakami are also investigated.  The course explores factors behind the making of works of art, including social, political and religious meanings, while examining the historical contexts for and aesthetic principles of the arts of Japan.  Students will work with Japanese objects from the collection of Vassar's Frances Lehman Loeb Art Center as part of the course.  Ms. Giuffrida.

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

Two 75-minute periods.

[259b. Warriors, Deities and Tea Masters: Japanese Art of the (1)

Momoyama Period (1568‑1615)]

Instructor and topic to be announced.

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

Two 75-minute periods.

Not offered in 2008/09.

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 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. Instructor to be announced.

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.

Not offered in 2008/09.

268a. The Times, 1968-now (1)

(Same as Media Studies 268) 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 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.

[272b. Architecture after the Industrial Revolution] (1)

Architecture was utterly changed by the industrial revolution of the eighteenth century. This course examines the changes in materials (iron and steel), building type (exhibition halls, train stations), and architectural practice (the rise of professional societies). The course terminates with the rise of modernism at the beginning of the twentieth century (Gropius, Le Corbusier), an architecture that fully embodied these industrial changes. Mr. Adams.

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

Two 75-minute periods.

273b. Modern Architecture and Beyond (1)

European and American architecture and city building (1920 to the present); examination of the diffusion of modernism and its reinterpretation by corporate America and Soviet Russia. Discussion of subsequent critiques of modernism (postmodernism, deconstruction, new urbanism) and their limitations. Issues in contemporary architecture. Instructor to be announced.

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)

(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 2008/09.

320b. The Art and Architecture of the Pilgrimage Roads (1)

In this seminar we examine the phenomenon of pilgrimage in Western Europe and the Holy Land from the early Christian era to the high Middle Ages using the texts, artifacts and buildings associated with specific saints’ cults and holy sites. The great pilgrimages to Jerusalem, Rome, Santiago de Compostela, and Canterbury are considered, as are those important but largely-forgotten destinations such as Tours, the site of the relics of Saint Martin, and Souvigny, where Saints Mayeul and Odilon, the fourth and fifth abbots of Cluny, were buried. Mr. Tallon.

Prerequisite: permission of instructor.

One 2-hour period.

331a. Seminar in Northern Art (1)

Johannes Vermeer of Delft. Recent research on Johannes Vermeer has produced a sharper and more nuanced understanding of how the artist worked and what his paintings conveyed to viewers of his time. Through evaluating the wide range of scholarly approaches that have been applied to Vermeer, the seminar examines his interpretive and technical development as an artist, explores how he relates to and diverges from other major genre painters of the same period, and considers how his thematic choices reflect ways of thinking that developed in the Dutch Republic during the Age of Observation. Ms. Kuretsky.

Prerequisite: permission of instructor.

One 2-hour period.

332b. Seminar in Italian Renaissance Art (1)

Italian Renaissance and Baroque Drawings and Prints- This course traces the history of drawing and printmaking in Italy from the fifteenth to the seventeenth centuries. The class will focus on major individual contributions, including the drawings of Leonardo, Michelangelo, and Guercino, and the prints of Mantegna, the Carracci, and Stefano della Bella. In addition to exploring various techniques and styles, we also consider the different functions of drawings and prints and the changing attitudes toward their connoisseurship. Ms. White

 Prerequisite: permission of instructor.

One 2-hour period.

354a. Seminar in African Art (1)

(Same as Africana Studies 354a) Contemporary African Photography and Video. This seminar explores the development of contemporary photographic and video practices as they relate to Africa. Organized thematically, it focuses on the individual case studies, artists, and exhibitions that comprise the dynamic and international realm of contemporary photo and video by artists living inside and outside of the African continent. Emphasis is placed on the changing significance and role of photography within African and trans-African contexts. As a part of this process, we consider issues of representation; documentation, critiques, and re-framing of socio-political issues and global relations; the visual articulation of racial, ethnic, gendered and religious identities; as well as aesthetic ideas, performance and the role of varied audiences and reception. Ms. Brielmaier.

Prerequisite: permission of instructor.

One two-hour period.

358b. Seminar in Asian Art (1)

Chinese Art: 19th Century to Now. From the last decades of imperial rule through the rise of Communism and ending with China's current presence on the global stage, this seminar investigates the multiple realities that Chinese artists have constructed for themselves.  By examining artworks in a variety of media including painting, sculpture, decorative arts, performance art, and installations, the seminar explores relationships between tradition and modernity, confluences between East and West, representations of cultural identity, the role of expatriate artists, and the impact of the international art market.  Ms. Giuffrida.

Prerequisite: permission of instructor.

One 2-hour period.

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

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

Prerequisite: permission of instructor.

One 2-hour period.

[364a. Seminar in Twentieth-Century Art} (1)

Topic and instructor to be announced.

Prerequisite: permission of instructor.

One two-hour period.

366b. Seminar in African American Art and Cultural History (1)

(Same as Africana Studies 366b and Women’s Studies 366b) 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 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)

(Same as Urban Studies 370) Scandinavian Modernism. Swedish architecture stands apart from the major developments of central European modernism. Architects such as Gunnar Asplund are seduced by the new modern architecture that they discover in central Europe, but they adapt and transform it to local social and environmental conditions. We examine the importance of the Stockholm Exhibition (1930) and its influence on developments in architecture, the role of Cooperative Society movement, housing policies and practices, urban and city planning, as well as the development of social democracy. Our main focus is the work of Gunnar Asplund and his “conversion” from traditionalist to modernist. Along with architecture, we also examine the role of film, music, and literature in the formation of national identity. Mr. Adams.

Prerequisite: permission of instructor.

One 3-hour period.

378b. Seminar in Museum Studies (1)

What the Art Object Can Tell Us. This seminar focuses only on original works of art from the over 17,000 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. Mr. Mundy.

Prerequisite: permission of instructor.

One 2-hour period.

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

Marble Sculpture in the new Greek and Roman Galleries at the Metropolitan Museum. This introduction to looking at ancient sculpture features close examination of works ranging in date from Archaic Greek to late Roman, with discussion of style, technique, and original context. Problems involving Roman copies as well as later European restoration are also discussed. Ms.Milleker.

Prerequisite: permission of the chair.

One two-hour period.

Six-week course.

385b. Seminar in American Art (1)

Designs for Living: Modernity 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.

188a Architectural Design I (1)

A studio-based introduction to architectural design as a method of thinking and communicating about the physical environment through diagrams, drawings, maps and models. Employing a variety of digital and non-digital techniques, students begin to record, analyze and create architectural space and form in a series of design exercises. Mr. Amrborst

Prerequisite: Art 102-103, corequisite: one of the following: Art 220, 270, 272 or 273, or by permission of the instructor.

Two 2-hour period 

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)

The course explores contemporary drawing strategies. Students take an interpretative approach to assignments, and work from a variety of subjects including the human figure, found objects, landscape, and images. Mr. Charlap, Ms. Ruggeri.

Prerequisite: Art 102a or other studio course.

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 (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.

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 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 2008/09.

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.

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)

The course explores contemporary drawing strategies. Students take an interpretative approach to assignments, and work from a variety of subjects including the human figure, found objects, landscape, and images. Mr. Charlap, Ms. Ruggeri.

Prerequisite: Art 102a or other studio course.

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 (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.

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 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 2008/09.

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 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

276b. Architectural Design II (1)

A studio-based course aimed at further developing architectural drawing and design skills. Employing a variety of digital and non-digital techniques students record, analyze and create architectural space and form in a series of design exercises. Mr. Armborst 

Prerequisite: Permission of Instructor

Two 2-hour periods

375a. Architectural Design III (1)

Visual Constructs. An examination of a number of visual constructs, analyzing the ways architects and urbanists have employed maps, models and projections to construct particular, partial views of the physical world. Using a series of mapping, drawing and diagramming exercises, students will analyze these constructs and then appropriate, expand upon, or hybridize established visualization techniques. Mr. Armborst.