Art Department

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

Distribution:  6 units at the 200-level must be divided equally between groups A, B, and C. 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 urged to take a 300-level seminar before 301.

A: Ancient, Medieval, Asian art

B: Italian and Northern Renaissance and baroque art, Renaissance and baroque architecture (Art 270, 271), American art (Art 250)

C: Nineteenth, twentieth and twenty-first century art, American art (Art 251, Art 266), nineteenth century to contemporary architecture (Art 272, Art 273), African art

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.

Correlate Sequence in Art History: 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 selects 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) 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, photography or architecture drawing and design; 3 units in 300-level studio courses including Art 301. By special permission up to 2 units of Art 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.

Architectural Design: Students interested in the field of architectural design should consult with members of the architectural design advisory committee.

Tobias Armborst, Harry Roseman, Andrew Tallon, Nicholas Adams

I. Introductory

105a. Introduction to the History of Art (1)

An historical and analytical introduction to architecture, sculpture, and painting. The department.

Year long course 105-106.

Open to all classes. Enrollment limited by class.

Three 50-minute periods and one 50-minute conference section.

106b. Introduction to the History of Art (1)

An historical and analytical introduction to architecture, sculpture, and painting. The department.

Year long course 105-106.

Open to all classes. Enrollment limited by class.

Three 50-minute periods and one 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 college requirement for Freshman Writing Seminar.

Two 75-minute periods.

Not offered in 2011/12.

160a. Politics of Art/Art of Politics (1)

In this first-year seminar, we examine the relationships between visual culture and social movements in the United States. Focusing on the twentieth and twenty-first centuries, we explore connections between art, politics, and society. Ms. Collins.

Two 75-minute meetings.

Fulfills the Freshman Writing Seminar Requirement.

Not offered in 2011/12.

170. Rome (1)

(Same as Urban Studies 170)

An overview of the history of the eternal city from its legendary origins to the present as seen through its architecture and urbanism. The development of major sites (the Forum, the Capitoline, St. Peter's) and significant architecture (from the Pantheon to Richard Meier). Rome as the site of architectural fantasy and imagination and its influence throughout the western world (London, Washington, St. Petersburg). Readings, films, guest lecturers. (This course cannot be used to fulfill distribution requirements for the major in Art History.) Mr. Adams.

Two 75-minute periods.

Not offered in 2011/12.

186. Celebrating Vassar’s Art Museum (1861-2011): A Sesquicentennial Course (1)

Matthew Vassar’s generous purchase of original works of art was the foundation of what would become a major collection: the earliest to be planned into an American college or university’s opening curriculum. Today it has grown to more than 17,000 objects from many periods and parts of the world. Using the Frances Lehman Loeb Art Center as a laboratory, the course investigates the evolution of our museum and its collection since the late nineteenth century, along with varying attitudes, past and present, toward the role of art in the curriculum of a liberal arts college. Moving beyond our own history, students are introduced to today’s Art Center as a modern, fully operational museum in which broader issues can be discussed, including diverse approaches to the academic study of art and to public education, the collecting, care and exchange of original objects, and international museum problems such as art theft, the traffic in fakes and forgeries, and current debates about repatriating works of art to their country of origin. Ms. Kuretsky

Fulfills the Freshmen Writing Seminar Requirement.

II. Intermediate

210a. Greek Art and Architecture (1)

(Same as Greek and Roman Studies 210a) 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 coursework in Greek & Roman Studies, or by permission of instructor.

Two 75-minute periods.

211. Roman Art and Architecture (1)

(Same as Greek and Roman Studies 211a) 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 coursework in Greek & Roman Studies, or by permission of instructor.

Two 75-minute periods.

Not offered in 2011/12.

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, coursework in 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 iconographicallly, 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 105-106, or coursework in 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 2011/12.

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, or by permission of instructor.

Two 75-minute periods.

Not offered in 2011/12.

235a. Art In Early Renaissance Italy (1)

A survey of Italian art from c. 1300 - c.1485, focusing on painting, sculpture and decorative arts by artists including Giotto, Fra Angelico, Mantegna, Botticelli, Donatello, and the della Robbia. We consider works in social, political, religious, and cultural contexts, looking at various forms of patronage as we move from the republics of Florence, Siena, and Venice to the courts of Mantua and Urbino, and to papal Rome. Particular attention is given to the original function and settings of works; the Renaissance reception of antiquity; notions of artistic competition and originality; developments in perspective and illusionism; experiments with new media; and the relation of contemporary art theory to artistic practice. Ms. Elet.

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

Two 75-minute periods.

Not offered in 2011/12.

236b. Art in the Age of Leonardo, Raphael, and Michelangelo (1)

An exploration of the works of these three great masters and their contemporaries in Italy, c. 1485 - c. 1565. The primary focus is on painting and sculpture, but the course also considers drawings, prints, landscape, gardens, and decorative arts, emphasizing artists' increasing tendency to work in multiple media. We trace changing ideas about the role of the artist and the nature of artistic creativity, which are expressed in these works and in theoretical debates about the superiority of painting or sculpture, and the primacy of design or color. Other topics include interactions between artists and patrons; the role of the spectator; ritual and ceremonial; contemporary ideas about sexuality and gender; and historical constructs of genius. Ms. Elet.

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

Two 75-minute periods.

250a. Encounter and Exchange: American Art from 1565 to 1865(1)

This course examines American art from European contact in the 16th century through the Civil War. It emphasizes the formative role of the international encounter and cross-cultural exchange to this art. The focus is on painting, photography, and prints, though a range of objects types including sculpture, architecture, moving panoramas, and wampum belts will also be explored. Ms. Ikemoto.

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

Two 75-minute periods.

251a. The Challenge of Modernity: American Art 1565 to 1865(1)

This course examines American art from European contact in the 16th century through the Civil War. It emphasizes the formative role of the international encounter and cross-cultural exchange to this art. The focus is on painting, photography, and prints, though a range of objects types including sculpture, architecture, moving panoramas, and wampum belts will also be explored. Ms. Ikemoto

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.

Two 75-minute periods.

Not offered in 2011/12.

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

(Same as Africana Studies 254) 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.

Two 75-minute periods.

Not offered in 2011/12.

256a. The Arts of China (1)

(Same as Asian Studies 256a. )Landscape Painting and Portraiture from the Song dynasty (960-1279) to the Present. Chinese painters of the Song dynasty onward wielded their brush with profound awareness of the past. Discussions focus on the impact of the painters' construction of the past on the overall history of Chinese painting, as well as other important art historical issues, such as: tradition vs. the individual; amateurism vs. professionalism; the critic vs. the historian; and imitation vs. forgery. Ms. Hwang.

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

Two 75-minute periods.

258b. The Arts of Japan:The Three Shogunates (1)

(Same as Asia 258)

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

Two 75-minute periods.

Not offered in 2011/12.

259a. The Arts of East Asia (1)

(Same as Asian Studies 259) An introduction to the arts of China, Korea, and Japan from the Neolithic period to the present. The course surveys a broad range of media, including ceramics, sculpture, calligraphy, painting, architecture, lacquer, and woodblock prints, with particular focus on the ways in which each of the three cultures has negotiated the shared "East Asian" cultural experience and its sense of a distinct self. The works to be examined invite discussions about appropriation, reception, and reinterpretation of images and concepts as they traversed the East Asian cultural sphere. Ms. Hwang-Gold.

Two 75-minute periods.

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

Not offered in 2011/12.

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 the 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 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 and one weekly film screening.

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

(Same as Media Studies 265b.) 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 and one weekly film screening.

Not offered in 2011/12.

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 2011/12.

268b. The Activation of Art, 1968 - now (1)

(Same as Media Studies 268) This course studies the visual arts of the last thirty years, here and abroad, together with the collective and philosophical discussions that emerged and motivated them. The traditional fine arts as well as the new media, performance, film architecture and installation are included. Still and moving images, which come with new theatres of action, experiment and intellectual quest, are studied as they interact with the historical forces still shaping our time into time zones, world pictures, narratives and futures. Weekly screenings supplement the lectures. Ms. Nesbit.

Prerequisite: Art 105-106.

Two 75-minute periods and one weekly screening.

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.

Not offered in 2011/12.

271. Early Modern Architecture (1)

Two 75-minutes.

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

Not offered in 2011/12.

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.

Not offered in 2011/12.

273a. Modern Architecture and Beyond (1)

(Same as Urban Studies 273a.) 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. Mr. Adams.

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

Two 75-minute periods.

284. The Art of Native North America (1)

Drawing on the collections of the Frances Lehman Loeb Art Center, this course addresses issues regarding the acquisition and exhibition of Native American art. During the first part of the semester, we develop an awareness of these issues through study of key case studies. Investigation of this topic focuses on skills of critical evaluation and verbal/written exposition. In the second half of the semester, the students participate in creating an on-line virtual exhibition of Native art.

Pre-requisites: Art 105-06, or a course in Native Studies, or permission of instructor.

Two 75-minute-periods.

Not offered in 2011/12.

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

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 or a supervised independent project in studio art.

310b. Seminar in Ancient Art (1)

(Same as Greek and Roman Studies 310)

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2011/12.

320b. Seminar in Medieval Art (1)

Topic for 2011/12b: Gothic Architecture and the Creation of France. With the help of a newly-created website, http://mappinggothicfrance.org, our task is to tell the parallel stories of the birth of Gothic architecture and the rise of France as a nation-state by establishing links among three elements: the architectural space of the buildings; the period of time and geo-political space which corresponds to the advent of the Capetian dynasty, and the social space resulting from the interaction, whether in collaboration or in conflict, of builders, patrons and the faithful. The course coincides with an exhibition on Gothic architecture in the Loeb Museum in whose preparation seminar members participate; final projects, which might range from building monographs to topics dealing with issues of Gothic space in a larger sense, are considered for publication on the Mapping Gothic France website. An ability to read French is helpful but not required. Mr. Tallon.

Prerequisite: permission of instructor.

One 3-hour period.

331a. Seminar in Northern Art (1)

Topic for 2010/11a: 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)

Reconsidering Raphael. This great Renaissance master has long been known as "the prince of painters," but this label ignores the astonishing range of Raphael's activities and accomplishments. Not only a brilliant painter, he was also an accomplished architect, landscape designer, draftsman, designer of prints, archeologist, and papal surveyor of antiquities. This seminar reconsiders Raphael's oeuvre, taking a comprehensive view of his varied projects, and how they informed each other. We also examine his writings and his close collaborations with literary figures, including Baldassare Castiglione, addressing the relation of word and image. This synthetic approach allows a fuller appreciation of Raphael's brilliance and originality, and the reasons he was so admired in his own time and in later centuries. Ms. Elet.

Prerequisite: permission of instructor.

One 3-hour period.

333b. Envisioning Paradise: Art in the Villas and Gardens of Early Modern Italy, c. 1450-c. 1650 (1)

Changing attitudes toward the relationship between art and nature in Renaissance and Baroque Italy were played out in the decoration of villas and gardens. The best known artists and patrons of the era created extensive estates in emulation of antiquity, with decorations in many media. These works blurred the line between indoors and outdoors, and challenged the viewer to determine what was by the hand of the artist or by Nature herself. We trace this play of nature and artifice, which positioned the artist as a godlike creator, and its consequences for the visual arts. We consider painting - especially landscapes - as well as sculpture, fountains, and grottoes in sites from Florence, Rome, the Veneto, and Naples to France. We discuss the reception of model villa decorations from Roman antiquity and medieval Islamic Spain; explore the influx of new flora and fauna during the exploration of "new" worlds; and examine changing patterns of collecting these new products of art and nature, such as the Kunstkammer. Other topics include the ideology of villa culture, the relation between city and country life, utopian conceptions of garden and landscape, and human dominion over nature. Ms. Elet

Prerequisite: permission of instructor.

One 3-hour period.

Not offered in 2011/12.

354b. Seminar in African Art (1)

(Same as Africana Studies 354b) 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 2-hour period.

Not offered in 2011/12.

358a. Seminar in Asian Art (1)

(Same as Asian Studies 358a.)

Topic for 2011/12: Word and Image: Pictorial Narratives of East Asia. This seminar examines the ways in which some of the most widely told East Asian narratives have been translated into the pictorial field — on cave murals, handscrolls, screens, sliding doors and woodblock prints. Works to be discussed include parables from the Lotus Sutra, the most important Buddhist text, and the Tale of Genji, a famous eleventh-century Japanese novel. Ms. Hwang.

Prerequisite: permission of instructor.

One 2-hour period.

362a. Seminar in Nineteenth-Century Art: Philosophical Landscape: Poussin/Turner/Cézanne (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. Duchamp (1)

The seminar focuses on the many problems posed by Duchamp's ready-mades when they first , mostly quietly, appeared. Ms. Nesbit.

Prerequisite: permission of instructor.

One 2-hour period.

366b. Art and Activism (1)

(Same as Africana Studies 366, American Culture 366, Women's Studies 366, and Urban Studies 366). Topic for 2011/12a: Vision and Critique in the Black Arts and Women's Art Movements in the United States. Focusing on the relationships between visual culture and social movements in the U.S., this seminar examines the arts, institutions,and ideas of the Black Arts movement and Women's Art movement of the 1960s and 1970s. Analyzing paintings, photographs, posters, quilts, collages, murals, manifestos, mixed-media works, installations, films, performances, and various systems of creation, collaboration, and display, we explore connections between art, politics, and society. Ms. Collins.

Prerequisite: permission of instructor.

One 2-hour period.

Not offered in 2011/12.

367b. Artists' Books from the Women's Studio Workshop (1)

(Same as American Culture 367b. and Women's Studies 367b.)

In this interdisciplinary seminar, we explore the limited edition artists' books created through the Women's Studio Workshop in Rosendale, New York. Founded in 1974, the Women's Studio Workshop encourages the voice and vision of individual women artists, and women artists associated with the workshop have, since 1979, created over 180 hand-printed books using a variety of media, including hand-made paper, letterpress, silkscreen, photography, intaglio, and ceramics. Vassar College recently became an official repository for this vibrant collection which, in the words of the workshop's co-founder, documents "the artistic activities of the longest continually operating women's workspace in the country." Working directly with the artists' books, this seminar will meet in Vassar Library's Special Collections and closely investigate the range of media, subject matter, and aesthetic sensibilities of the rare books, as well as their contexts and meanings. We will also travel to the Women's Studio Workshop to experience firsthand the artistic process in an alternative space. Ms. Collins

Prerequisite: permission of the instructor.

One 2-hour period.

Not offered in 2011/12.

370a. Seminar in Architectural History: The Vassar Campus (1)

(Same as Urban Studies 370a) Study of the major works of architecture on campus with particular attention to the foundation of the campus (Renwick's Main Building) and adjacent structures. The course addresses issues of educational philosophy and its relation to architecture, and landscape. Mr. Adams

Mr. Adams.

Prerequisite: Art 105-106, Art 272 or Art 273 and permission of the 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 the instructor.

One 2-hour period.

382b. Belle Ribicoff Seminar in the History of Art: Issues in Collecting and Curating: African Art (1/2)

Issues in Collecting and Curating: African Art for Example. This seminar explores broad issues in collecting and curating through the prism of African art. Many of the issues confronting museums are thrown into sharp relief when the art is African: the ethics of collecting, and the display of religious or sensitive objects; conflicts over identity, representation, and whose message will be heard in the museum; questions of quality and the museum as authority -- among many other issues of contention including the definitions of art itself. Students become familiar with fundamentals of African art, though no prior knowledge of the field is necessary. Two classes meet in New York museums. Transportation will be provided. Ms. Vogel.

Prerequisite: permission of the chair of the department. Please contact Prof. Molly Nesbit monesbit@vassar.edu to set up an interview.

First 6 weeks of semester.

One 2-hour period.

Course is ungraded.

385b. America on Paper: Prints, Drawings, Photographs (1)

This course explores the prints, drawings, and photographs that shaped 20th-century America. Focusing on first-hand encounter with original works of art in the Frances Lehman Loeb Art Center, it tackles such topics as urban life, rural America, the machine, the Depression, war, and transatlantic exchange. Works by such artists as John Sloan, Edward Hopper, Thomas Hart Benton, and Walker Evans illuminate the way visual culture negotiated a century of tumultuous social and political change. Ms. Ikemoto.

Prerequisite: permission of the 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, and Architectural Design

I. Introductory

102a. Drawing I (1)

Development of visual ideas through a range of approaches to drawing. Emphasis is placed on perceptual drawing from life, through subjects including landscape, interior, still life, and the human figure. In the second semester, figure drawing is the primary focus. Throughout the year, students work in a range of black and white media, as the elements of drawing (line, shape, value, form, space and texture) are investigated through specific problems. Mr. Charlap, Ms. Newman, Ms. Ruggeri, Mr. Roseman, Mr. William.

Year long course 102-103.

Open to all classes.

Two 2-hour periods.

103b. Drawing I (1)

Development of visual ideas through a range of approaches to drawing. Emphasis is placed on perceptual drawing from life, through subjects including landscape, interior, still life, and the human figure. In the second semester, figure drawing is the primary focus. Throughout the year, students work in a range of black and white media, as the elements of drawing (line, shape, value, form, space and texture) are investigated through specific problems. Mr. Charlap, Ms. Newman, Ms. Ruggeri, Mr. Rowland, Mr. William.

Year long course 102-103.

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.

160a. Politics of Art/Art of Politics (1)

In this first-year seminar, we examine the relationships between visual culture and social movements in the United States. Focusing on the twentieth and twenty-first centuries, we explore connections between art, politics, and society. Ms. Collins.

Two 75-minute meetings.

Fulfills the Freshman Writing Seminar Requirement.

Not offered in 2011/12.

176a. Architectural Design I (1)

A studio-based class introduction to architectural design through a series of short projects. Employing a combination of drawing, modeling and collage techniques (both by hand and using digital technology) students begin to record, analyze and create architectural space and form. Mr. Armborst.

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

202a. 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.

Prerequisite: Art 102-103.

Year long course 202-203.

Two 2-hour periods.

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.

Prerequisite: Art 102-103.

Year long course 202-203.

Two 2-hour periods.

204a. 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. Rowland.

Year long course 204-205.

Two 2-hour periods.

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. Rowland.

Year long course 204-205.

Two 2-hour periods.

206a. Drawing II (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.

207b. Drawing II (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.

Not offered in 2011/12

208a. Printmaking: Introduction (1)

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

Corequisite: Art 102a.

Two 2-hour periods.

Not offered in 2011/12

209b. Printmaking: Intaglio (1)

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

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:Art 102-103 and/or 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.

217a. Video Art (1)

(Same as Film 217a. )

Video Art has for some time been an important medium for visual artists. It has taken its place along with and often in tandem with all of the major categories of art production. The students are expected to learn how to "speak" using Video technology. This course is an exploration of the scope and possibilities of this important medium. The students learn the technical expertise necessary to be able to produce work in this medium. Student work is periodically screened and discussed by the class and the teacher, so that relationships between video and how it is implemented to best serve the visual, conceptual and narrative aspects of the work is better understood. Regular screenings of videos and films provide students with a context of historical and contemporary practices in which to consider their own production. Ms. Lasley.

Prerequisite: Art 102-103 and/or permission of the instructor.

Two 2-hour periods.

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.

284. The Art of Native North America (1)

Drawing on the collections of the Frances Lehman Loeb Art Center, this course addresses issues regarding the acquisition and exhibition of Native American art. During the first part of the semester, we develop an awareness of these issues through study of key case studies. Investigation of this topic focuses on skills of critical evaluation and verbal/written exposition. In the second half of the semester, the students participate in creating an on-line virtual exhibition of Native art.

Pre-requisites: Art 105-06, or a course in Native Studies, or permission of instructor.

Two 75-minute-periods.

Not offered in 2011/12.

III. Advanced

302a. 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.

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. Sculpture II (1)

Art 304 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 Art 305 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. Rowland.

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

Two 2-hour periods.

305b. Sculpture II (1)

Art 304 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 Art 305 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. Mr. Rowland.

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

Two 2-hour periods.

Not offered in 2011/12.

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 analyze these constructs and then appropriate, expand upon, or hybridize established visualization techniques. Mr. Armborst.

Prerequisite: permission of instructor.

Two 2-hour periods.

Not offered in 2011/12.

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.

Not offered in 2011/12.