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.

Correlate Sequence in Studio Art:  The correlate sequence in Studio Art offers the opportunity to investigate the visual arts through a progression of courses on the one hundred, two hundred, and three hundred level. The correlate is comprised of six units: Art 102-103 (2 units), a full year pre-requisite to the two hundred level courses, will give students a foundation in drawing and visual thinking.  At the two hundred level students may elect any three course units including drawing, painting (full year 2 units), sculpture (full year 2 units), printmaking, photography, video, and architectural design.  At the three hundred level, one unit of painting, sculpture, computer animation, or architectural design. 

Each year, the Art Department will provide an updated list of approved courses for the Studio Art correlate sequence.  From this course list, students define an appropriate course of study, which must be approved by the Art Department chair and a Correlate Sequence advisor prior to declaration.  Additional courses may be approved for the Correlate Sequence upon petition to the Chair. A maximum of two units of ungraded work may be counted toward the Correlate Sequence.

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)

Art 105-106 provide a yearlong introduction to the history of art and architecture. Presented chronologically, with members of the department lecturing in their fields of expertise, the course begins with the monuments of the ancient world and ends with a global survey of today’s video. Students see how the language of form changes over time, how it continually expresses cultural values and addresses individual existential questions. Art history is, by its nature, transdisciplinary—drawing on pure history, literature, music, anthropology, religion, linguistics, science, psychology and philosophy. The course, therefore, furnishes many points of entry into the entire spectrum of human creativity. Weekly discussion sections make extensive use of the Vassar College collection in the Loeb Art Center. The department.

Yearlong course 105-106.

Open to all classes. Enrollment limited by class.

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

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

Art 105-106 provide a yearlong introduction to the history of art and architecture. Presented chronologically, with members of the department lecturing in their fields of expertise, the course begins with the monuments of the ancient world and ends with a global survey of today’s video. Students see how the language of form changes over time, how it continually expresses cultural values and addresses individual existential questions. Art history is, by its nature, transdisciplinary—drawing on pure history, literature, music, anthropology, religion, linguistics, science, psychology and philosophy. The course, therefore, furnishes many points of entry into the entire spectrum of human creativity. Weekly discussion sections make extensive use of the Vassar College collection in the Loeb Art Center. The department.

Yearlong course 105-106.

Open to all classes. Enrollment limited by class.

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

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

(Same as American Culture 160) 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 periods.

Fulfills the Freshman Writing Seminar Requirement.

II. Intermediate

210. Greek Art and Architecture (1)

(Same as Greek and Roman Studies 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 coursework in Greek & Roman Studies, or permission of the instructor.

Two 75-minute periods.

Not offered in 2012/13.

211. Roman Art and Architecture (1)

(Same as Greek and Roman Studies 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 Greek and Roman Studies 216 or 217, or permission of the instructor.

Two 75-minute periods.

Not offered in 2012/13.

215b. The Art and Archaeology of Ancient Egypt (1)

(Same as Greek and Roman Studies 215) Ancient Egypt has long fascinated the public with its pyramids, mummies, and golden divine rulers. This course provides a survey of the archaeology, art, and architecture of ancient Egypt from the prehistoric cultures of the Nile Valley through the period of Cleopatra's rule and Roman domination. Topics to be studied include the art of the funerary cult and the afterlife, technology and social organization, and court rituals of the pharaohs, along with aspects of everyday life. Ms. D'Ambra.

Prerequisites: Art 105-106 or Greek and Roman Studies 216 or 217, or permission of the instructor.

Two 75-minute periods.

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 permission of instructor.

Two 75-minute periods.

Not offered in 2012/13.

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 permission of the instructor.

Two 75-minute periods.

Not offered in 2012/13.

230a. Art in the Age of Van Eyck, Dürer and Bruegel (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 permission of the instructor.

Two 75-minute periods.

231b. The Golden Age of Rubens, Rembrandt and Vermeer (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 permission of the instructor.

Two 75-minute periods.

235a. The Rise of the Artist in Early Renaissance Italy (1)

A survey of Italian art c. 1300 - c.1485, when artists emerged from an anonymous craft tradition to become appreciated as ingenious creators. The course examines painting, sculpture and decorative arts by artists including Giotto, Fra Angelico, Mantegna, Botticelli, Donatello, and the della Robbia. We examine works in social, political, religious, and cultural contexts, considering patronage in the republics of Florence, Siena, and Venice; the courts of Mantua and Urbino; and papal Rome. Special 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 art theory to artistic practice. Ms. Elet.

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

Two 75-minute periods.

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

An exploration of the works of these three masters and their contemporaries in Renaissance 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; and consider how these Renaissance masters laid foundations for art, and its history, theory and criticism for centuries to come. Other topics include artists' workshops; interactions between artists and patrons; the role of the spectator; ritual and ceremonial; and Renaissance ideas about beauty, sexuality and gender. Ms. Elet.

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

Two 75-minute periods.

Not offered in 2012/13.

251a. Modern America: Paintings, Prints, Photographs (1)

(Same as American Culture 251) This course examines American visual culture as it developed in the years between the Civil War and World War II. Attention is paid to the intersections among diverse media and to such issues as consumerism, abstraction, primitivism, femininity, and mechanized reproduction. Artists studied include Thomas Eakins, Timothy O’Sullivan, James McNeill Whistler, Georgia O’Keeffe, Edward Hopper, Winslow Homer, Edward Weston, and Aaron Douglas. Ms. Ikemoto.

Prerequisite: Art 105-106 or a 100-level American Studies course or permission of the instructor.

Two 75-minute periods.

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". Instructor: TBA.

Prerequisites: Art 105-106.

Two 75-minute periods.

256. The Arts of China (1)

Not offered in 2012/13.

258b. The Art of Zen in Japan (1)

(Same as Asian Studies 258) This course surveys the arts of Japanese Buddhism, ranging from sculpture, painting, architecture, gardens, ceramics, and woodblock prints. We will consider various socioeconomic, political and religious circumstances that led monks, warriors, artists, and women of diverse social ranks to collectively foster an aesthetic that would, in turn, influence modern artists of Europe and North America. Ms. Hwang-Gold.

Art 105-106 or a 100-level Asian Studies course, or permission of the instructor.

Two 75-minute periods.

259a. Art, Politics and Cultural Identity in East Asia (1)

(Same as Asian Studies 259) This course surveys East Asian art in a broad range of media, including ceramics, sculpture, calligraphy, painting, architecture, and woodblock prints. Particular attention is paid to the ways in which China, Korea, and Japan have negotiated a shared “East Asian” cultural experience. The works to be examined invite discussions about appropriation, reception, and inflection of images and concepts as they traversed East Asia. Ms. Hwang-Gold.

Prerequisites: Art 105-106 or a 100-level Asian Studies course, or permission of the instructor.

Two 75-minute periods.

262a. Art and Revolution in Europe, 1789-1848 (1)

A survey of major movements and figures in European art, 1789-1848, focusing on such issues as the contemporaneity of antiquity in revolutionary history painting, the eclipse of mythological and religious art by an art of social observation and political commentary, the romantic cult of genius, imagination, and creative self-definition, and the emergence of landscape painting in an industrializing culture. Mr. Lukacher.

Prerequisite: Art 105-106, or 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 the instructor.

Two 75-minute periods.

264a. The Avant-Gardes, 1889-1929 (1)

(Same as Media Studies 264) 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 permission of the instructor.

Two 75-minute periods and one weekly film screening.

Not offered in 2012/13.

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

(Same as Media Studies 265) The history of modern painting and sculpture in Europe and America from the onset of the Great Depression to the events of 1968, together with their contemporary developments in film, photography, and the mass media. Special attention is paid to the criticism, theory, and politics of the image as part of the newly divided modern culture of abstractions, generalities, human rights and identities. Weekly screenings supplement the lectures. Ms. Nesbit.

Prerequisite: Art 105-106.

Two 75-minute periods and one weekly film screening.

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 permission of the instructor.

Two 75-minute periods.

Not offered in 2012/13.

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 permission of the instructor.

Two 75-minute periods.

Not offered in 2012/13.

271. Early Modern Architecture (1)

Two 75-minute periods.

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

Not offered in 2012/13.

272b. Buildings and Cities after the Industrial Revolution (1)

(Same as Urban Studies 272) Architecture and urbanism were utterly changed by the subversive forces of the industrial revolution. Changes in materials (iron and steel), building type (train stations, skyscrapers), building practice (the rise of professional societies and large corporate firms), and newly remade cities (London, Paris, Vienna) provided a setting for “modern life.” The course begins with the liberation of the architectural imagination around 1750 and terminates with the rise of modernism at the beginning of the twentieth century (Gropius, Le Corbusier). Mr. Adams.

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

Two 75-minute periods.

273. Modern Architecture and Beyond (1)

(Same as Urban Studies 273) 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 permission of the instructor.

Two 75-minute periods.

Not offered in 2012/13.

275a. Rome: Architecture and Urbanism (1)

(Same as Urban Studies 275) The Eternal City has been transformed many times since its legendary founding by Romulus and Remus. This course presents an overview of the history of the city of Rome in antiquity, the Middle Ages, the Renaissance, the Baroque period, and modern times. The course examines the ways that site, architecture, urbanism, and politics have interacted to produce one of the world’s densest urban fabrics. The course focuses on Rome’s major architectural and urban monuments over time (e.g., Pantheon, St. Peters, the Capitoline hill) as well as discussions of the dynamic forms of Roman power and religion. Literature, music and film also will be included as appropriate. Mr. Adams.

Art 105-106, or 170 or permission of the 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

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 department.

301a or b. Senior Project (1)

Supervised independent research culminating in a written paper or a supervised independent project in studio art.

320b. Seminar in Medieval Art (1)

Not offered in 2012/13.

331a. Master Printmakers: the Art of Dürer and Rembrandt (1)

Concentrating on original engravings and etchings in the collection of the Frances Lehman Loeb Art Center at Vassar, this seminar explores the origins and development of printmaking during the Renaissance and Baroque periods, with primary focus on the medium’s greatest innovators: Albrecht Dürer and Rembrandt van Rijn. Ms. Kuretsky.

Prerequisite: permission of the 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 the instructor.

One 3-hour period.

Not offered in 2012/13.

333b. The Art of the Garden in Renaissance and Baroque Italy (1)

Changing attitudes toward the relationship between art and nature were played out in the decoration of villas and gardens, c. 1450- c. 1650. These extensive estates by top artists and patrons featured paintings, sculptures, fountains, grottoes, and plantings that blurred distinctions between indoors and outdoors, and between nature and artifice. We examine sites from Florence, Rome, the Veneto, and Naples to France, considering the inheritance of ancient Roman, medieval, and Islamic gardens. We explore the influx of new flora and fauna during the exploration of “new” worlds, and changing patterns of collecting and display. Readings explore villa ideology, the relation between city and country life, utopian conceptions of garden and landscape, and human dominion over nature. On a field trip, we experience the role of the ambulatory spectator, and consider the reception of the Italian garden in America. Ms. Elet.

Prerequisite: permission of the instructor.

One 3-hour period.

358b. Miraculous Images: Buddhist Art of China (1)

(Same as Asian Studies 358) When Buddhism was entering China from India circa first century C.E., it was infiltrating an intellectual system that already had highly advanced and clearly articulated worldviews in place. The “Buddhist conquest of China” owes much of its success to images of Buddhist deities, some of which were believed to be capable of foretelling dynastic future through physical flight, emotional expression, and even self-destruction. The seminar examines the role of legends and their visual expressions in the process of Sinicizing (making Chinese) the Indian religion. Ms. Hwang.

Prerequisite: permission of the instructor.

One 2-hour period.

362. Philosophical Landscape: Poussin/Turner/Cézanne (1)

Philosophical Landscape: Poussin/Turner/Cézanne. This seminar explores the philosophical ambitions of European landscape painting by focusing on the case studies of Poussin’s mythological vision of nature, Turner’s cataclysmic and historical conception of nature, and Cézanne’s dualistic (at once introspective and phenomenological) grasp of sensation and landscape. Changing ideas about the temporality, historicity, and sublimity of esthetic experience and the natural world are considered. Problems of painting style and technique are studied in close relation to the semiotic and symbolic connotations of landscape art. Mr. Lukacher.

Prerequisite: permission of the instructor.

One 2-hour period.

364a. The World Picture: Sustainable Aesthetics (1)

(Same as Media Studies 364) What defines a world? Increasingly the work of art is asked to take on this question, which has been the province of philosophy for centuries. This year the seminar looks at the way contemporary art has taken the idea of the world picture apart to produce a set of critiques and alternative visions so that the organization of the world’s aspects can be better considered. The question that haunted the twentieth century, what is a self? or, to put it slightly differently, what is a subject? has been transformed. The new questions turn on redefinitions of collectivity, or what is currently called self-organization. They do not aspire to become a mass culture. Ms. Nesbit.

Prerequisite: permission of the instructor.

One 2-hour period.

366b. Art and Activism: Vision and Critique in the Black Arts and Women's Art Movements in the US (1)

(Same as Africana Studies, American Culture, and Women's Studies 366)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 the instructor.

One 2-hour period.

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

(Same as American Culture and Women's Studies 367) 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 2012/13.

370b. The Architectural Book (1)

(Same as Urban Studies 370) The seminar examines the development of the architectural treatise from Vitruvius to Le Corbusier. We base this class in the Vassar College Library, rich in architectural texts. We travel to New York and New Haven for further examination of original works. The course combines a history of the book with the development of architectural theory. Mr. Adams.

Prerequisite: one 200-level course in architectural history or permission of the instructor.

One 2-hour period.

382a. Belle Ribicoff Seminar (1/2)

Topic for 2012/13a: Landscape Design and the Meaning of Place. Grounded in the history of landscape design, this six-week seminar, organized as a series of conversations, will take place in the library of Elizabeth Barlow Rogers in New York City. Selections of text and engravings from Ms. Rogers's collection of rare books. To be supplemented by Central Park, next door. Meetings will be held on 6 different Wednesdays during the term, 1-3 p.m. The first class will meet at Vassar; the following will take place in New York City. Transportation will be provided.

Permission of the instructor.

Enrollment limited to 10 students.

385b. Intersections: Art and Science in America (1)

What characterized the relationship between art and science in 19th-century America? This seminar explores the history of collaboration and competition between these two disciplines, focusing on such topics as medical illustration, the natural history museum, transportation technology, racial profiling, expeditionary photography, and optical illusion. 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.

Yearlong 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, Mr. Roseman, Ms. Ruggeri, Mr. William.

Yearlong course 102-103.

Open to all classes.

Two 2-hour periods.

108. Color (1)

To develop students' understanding of color as a phenomenon and its role in art. Color theories are discussed and students solve problems to investigate color interactions using collage and paint. Mr. Charlap.

Open to all classes.

Not offered in 2012/13.

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 permission of the instructor.

Two 2-hour periods.

II. Intermediate

202a. Painting I (1)

An introductory course in the fundamentals of painting, designed to develop seeing as well as formulating visual ideas. Working primarily from landscape and still life, the language of painting is studied through a series of specific exercises that involve working from observation. Activities and projects that address a variety of visual media and their relationship to painting are also explored. Mr. Charlap.

Prerequisite: Art 102-103.

Yearlong course 202-203.

Two 2-hour periods.

203b. Painting I (1)

A variety of painting strategies are explored, working primarily from the human figure, including representation, metaphor, narrative, pictorial space, memory, and identity. Instructor: Ms. Newman.

Prerequisite: Art 102-103.

Yearlong 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. Roseman.

Yearlong 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. Roseman.

Yearlong 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.

Prerequisite: Art 102 or other studio course.

Two 2-hour periods.

207. 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 102 or other studio course.

Two 2-hour periods.

Not offered in 2012/13.

208a. Printmaking: Introduction (1)

This course is designed to explore the fundamentals of printmaking focusing primarily on relief printing techniques including linocut, woodcut, wood engraving, monotype, and collagraph. Mr. William.

Corequisite: Art 102.

Two 2-hour periods.

209b. Printmaking: Intaglio (1)

This course is designed to explore the fundamentals of printmaking focusing on primarily on Intaglio techniques including, drypoint, etching, aquatint, mezzotint, engraving, embossing, and stippling. Instructor: Mr. William.

Prerequisite: Art 102.

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 217) 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.

Mr. McElnea.

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 the instructor.

Two 2-hour periods.

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. The first semester of the course explores various models through which painting can be considered, such as painting as a window, a map, or an object. Ms. Newman.

Prerequisite: Art 202-203, two units in 200-level printmaking, or two units in 200-level drawing.

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. The second semester of the class examines the idea of painting as an ongoing development of thought; its projects are organized around the question, “How do you make the next painting?” Ms. Newman.

Prerequisite: Art 202-203, two units in 200-level printmaking, or two units in 200-level drawing.

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. Roseman.

Prerequisite: Art 204-205 or permission of the instructor.

Two 2-hour periods.

305b. Sculpture II (1)

Art 305 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.

Prerequisite: Art 204-205 or permission of the instructor.

Two 2-hour periods.

Not offered in 2012/13.

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 the instructor.

Two 2-hour periods.

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

(Same as Computer Science, Film, and Media Studies 379) 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: permission of the instructor.

Offered alternate years.

Two 2-hour periods.