Chair: Associate Professor Kathleen M. Ryor
Associate Chairs: Associate Professor David Lefkowitz, fall, Associate Professor Linda Rossi, winter and spring
Professors: Fred Hagstrom, Alison Kettering
Associate Professors: David Lefkowitz, Stephen Mohring, Linda Rossi, Kathleen M. Ryor
Assistant Professors: Kelly Connole, Baird E. Jarman
Visiting Assistant Professor: Jeff Rathermel
Senior Lecturer: Daniel P. Bruggeman
Mellon Post-Doctoral Fellow: Melanie Michailidis
Art History: 72 credits including: the seminar for art history majors (Art History 298); the integrative exercise (Art History 400); two Studio Art courses; and 48 elective credits in Art History, normally including Art History 101 and 102, as well as at least one course in non-Western art history. Art history majors are encouraged to take advantage of off-campus study programs. No more than two courses taken outside of the department can be counted toward the major. Occasionally one course in a related department such as Cinema and Media Studies may count as an elective toward the major.
Studio Art: 72 credits including: two courses from Studio Art 110, 113, 210, 212, 238, 260, or 274; two courses from 122, 230, 232, 251 or 300 level 3D (322, 327, 330, 351); Studio Art 298; a 300 level studio art course; two electives; the integrative exercise; 18 credits in Art History with at least six of the credits in courses which concentrate in art of the western tradition before 1800 and twelve elective credits. Potential majors should enroll in Drawing or Sculpture their first year. The following Cinema and Media Studies courses count toward the major: Cinema and Media Studies 110, 270 and 271. Cinema and Media Studies 210, 211, or 228 can count toward one course for the Art History requirement for studio majors.
ARTH 100. The Artist: From Craftsman to Star
In Western culture, the artist is represented as artisan, individualist, creator, entrepreneur, inventor, bohemian, genius, and celebrity. In this course, the artist’s ever-changing status, role, and identity will be explored through self-portraiture, biography, gender politics, critical theory, museum practice, studio training and artistic technique. Michelangelo, Caravaggio, Artemisia Gentileschi, Rembrandt, Vermeer, Van Gogh, Kahlo and Picasso number among the artists considered. The course will introduce art historical principles and methods, but its contexts will extend beyond traditional art history to include socio-economic, literary, and film perspectives. 6 cr., S/CR/NC, AL, FallA. Kettering
ARTH 101. Introduction to Art History I
An introduction to the art and architecture of various geographical areas around the world from antiquity through the "Middle Ages." The course will provide foundational skills (tools of analysis and interpretation) as well as general, historical understanding. It will focus on a select number of major developments in a range of media and cultures, emphasizing the way that works of art function both as aesthetic and material objects and as cultural artifacts and forces. Issues include, for example, sacred spaces, images of the gods, imperial portraiture, and domestic decoration. 6 cr., AL, FallA. Kettering, K. Ryor
ARTH 102. Introduction to Art History II
An introduction to the art and architecture of various geographical areas around the world from the fifteenth century through the present. The course will provide foundational skills (tools of analysis and interpretation) as well as general, historical understanding. It will focus on a select number of major developments in a range of media and cultures, emphasizing the way that works of art function both as aesthetic and material objects and as cultural artifacts and forces. Issues include, for example, humanist and Reformation redefinitions of art in the Italian and Northern Renaissance, realism, modernity and tradition, the tension between self-expression and the art market, and the use of art for political purposes. 6 cr., AL, RAD, WinterB. Jarman, A. Kettering, K. Ryor
ARTH 144. Architecture Across Cultures
This course will investigate the history of world architecture through selected examples organized by architectural type. We will consider a variety of buildings types from many different periods of history and discuss the formal, spatial and structural features of the buildings. We will pay close attention to the religious, political, social and cultural circumstances surrounding the design of these structures. We will examine the architectural variety found in various cultures around the globe and we will also search for any shared traits between cultures in their efforts to meet a range of religious, political and social needs. 6 cr., AL, WinterM. Michailidis
ARTH 155. Islamic Art and Architecture
This course surveys the art and architecture of societies where Muslims were dominant or where they formed significant minorities from the seventh through the twentieth centuries. It examines the form and function of architecture and works of art as well as the social, historical and cultural contexts, patterns of use, and evolving meanings attributed to art by the users. The course follows a chronological order, where selected visual materials are treated along chosen themes. Themes include the creation of a distinctive visual culture in the emerging Islamic polity; cultural interconnections along trade and pilgrimage routes; and westernization and modernization. 6 cr., AL, WinterM. Michailidis
ARTH 160. American Art to 1940
Concentration on painting of the colonial period (especially portraiture) and nineteenth century (especially landscape and scenes of everyday life) with an introduction to the modernism of the early twentieth century. The course will include analysis of the ways art shapes and reflects cultural attitudes such as those concerning race and gender. 6 cr., AL, RAD, SpringB. Jarman
ARTH 164. Buddhist Art
The Buddhist religion has been a central part of Asian cultures and societies since the third century BC. This course will trace the development of Buddhist art and architecture from its beginnings in India through its migration across the Asian continent. Attention will be paid to both the Mahayana and Theravada traditions in Central East, South, and South-East Asia. Special emphasis will be placed on the relationship between different doctrines, for example, Tantrism or Zen and the development of form and style. 6 cr., AL, RAD, FallK. Ryor
ARTH 165. Japanese Art and Culture
This course will survey art and architecture in Japan from its prehistoric beginnings until the early twentieth century, and explore the relationship between indigenous art forms and the foreign (Korean, Chinese, European) concepts, art forms and techniques that influenced Japanese culture, as well as the social political and religious contexts for artistic production. 6 cr., AL, RAD, Not offered in 2008-2009.
ARTH 166. Chinese Art and Culture
This course will survey art and architecture in China from its prehistoric beginnings to the end of the nineteenth century. It will examine various types of visual art forms within their social, political and cultural contexts. Major themes that will also be explored include: the role of ritual in the production and use of art, the relationship between the court and secular elite and art, and theories about creativity and expression. 6 cr., AL, Not offered in 2008-2009.
ARTH 170. History of Printmaking
The development of woodcut, engraving, etching, aquatint, and lithography in the West, c. 1400-1930, through the works of such artists as Schongauer, Dürer, Rembrandt, Goya, Daumier, Toulouse-Lautrec, Cassatt, and Kollwitz. The course will also examine how prints were produced, marketed, collected, and used, in short, how they functioned in their particular cultures. The class will work extensively with originals from the collections of the Minneapolis Institute of Arts and the Carleton Art Gallery. Students electing to take the course for four credits will write one fewer paper and take a shortened final exam. 6 or 4 cr., AL, Not offered in 2008-2009.
ARTH 172. Modern Art: 1890-1945
This course explores developments in the visual arts, architecture, and theory in Europe and America between 1890 and 1945. The major Modernist artists and movements that sought to revolutionize vision, culture, and experience, from Symbolism to Surrealism, will be considered. The impact of World War I, the Great Depression, and the rise of fascism will be examined as well for their devastation of the Modernist dream of social-cultural renewal. Lectures will be integrated with discussions of artists' theoretical writings and group manifestoes, such as those of the Futurists, Dadaists, Surrealists, Constructivists, and DeStijl, in addition to select secondary readings. 6 cr., AL, Not offered in 2008-2009.
ARTH 209. Chinese Painting
Since the tenth century in China, a tension emerges between art created as a means of self expression and works which were intended to display social status and political power and to convey conventional values. This course concentrates on the primary site of this tension, the art of painting. We will explore such issues as the influence of Confucian and Daoist philosophy on painting and calligraphy, the changing perception of nature and the natural in art, the politics of style, and the increasing dominance of poetry rather than narrative as a conceptual construct for painting. Prerequisite: Any one term of art history. 6 cr., AL, RAD, WinterK. Ryor
ARTH 220. Gender and Genre in the Floating World: Japanese Prints
Pictures of the floating world, or ukiyoe, were an integral part of popular culture in Japan and functioned as illustrations, advertisements, and souvenirs. This course will examine the development of both style and subject matter in Japanese prints within the socioeconomic context of the seventeenth through twentieth centuries. Emphasis will be placed on the prominent position of women and the nature of gendered activity in these prints. Prerequisite: Any one term of art history. 6 cr., AL, Not offered in 2008-2009.
ARTH 222. History of Photography
This course covers nineteenth and twentieth century photography from its origins to the present. It will consider formal innovations in the medium, the role of photography in society, and the place of photography in the fine arts. Prerequisite: Any one term of art history. 6 cr., AL, RAD, FallB. Jarman
ARTH 223. Women in Art
The study of art about and produced by women in the west from the Renaissance to the present. Attention to the ways gender identity is constructed in the arts, the conditions under which women have worked, the ideologies and institutions that have shaped their relationships to the arts, the feminist critique of the discipline of art history. Prerequisite: Any one term of art history. 6 cr., AL, RAD, SpringA. Kettering
ARTH 230. The Sistine Chapel
The course will focus on Michelangelo, Botticelli, Raphael and others to the Sistine Chapel. The artistic, architectural political, liturgical, theological, and historiographical contexts will all be considered. Important for discussion, too, will be such questions as how the chapel decorations served as forms of communication and persuasion; why the controversies surrounding its recent cleaning figured in the news; why the Sistine Chapel has retained such power for us today. More generally, the course should stimulate thinking about the social and cultural roles and values attributed to art both of the past and present. Prerequisite: any 100-level art history course or permission of instructor. 3 cr., AL, Not offered in 2008-2009.
ARTH 232. El Greco to Goya: Spanish Art of the Golden Age
Spanish painting, sculpture, and prints on the Iberian peninsula from the Renaissance to the nineteenth century, with major consideration of such artists as El Greco, Ribera, Velázquez, Murillo and Goya. Themes include Spanish concepts of nature and resistance to naturalism, the association of art and power at the Madrid court and in monasteries, gender and its constructions, the roles of various media in creating and confronting authority, and encounters between folk and "high" art. Students electing to take the course for four credits will write one less paper and take a shortened final exam. Prerequisite: Any one term of art history or permission of the instructor. 6 or 4 cr., AL, Not offered in 2008-2009.
ARTH 233. Van Eyck, Bosch, Bruegel: Their Visual Culture
Secular and religious painting during the "northern renaissance" of the fifteenth and sixteenth centuries. The transformation of late medieval artistic forms through the influence of humanism and the Reformation. Artists include Jan van Eyck, Rogier van der Weyden, Hieronymus Bosch, Matthias Grünewald, and Pieter Bruegel. Students electing to take the course for four credits will write one less paper and take a shortened final exam. Prerequisite: Any one term of art history or permission of the instructor. 6 or 4 cr., AL, Not offered in 2008-2009.
ARTH 234. Italian Renaissance Art
Painting and sculpture in fifteenth and sixteenth century Florence, Rome, and Venice and the Mannerist reaction to that art. Particular attention given to the works of Masaccio, Piero della Francesca, Leonardo, Raphael, Michelangelo, Pontormo, and Titian, as well as the artistic implications of various types of patronage and urban traditions. Prerequisite: Any one term of art history or permission of the instructor. 6 cr., AL, SpringA. Kettering
ARTH 238. Rembrandt, Vermeer and Netherlandish Art
A survey of Dutch and Flemish painting from the fifteenth through the nineteenth centuries in its cultural and historical context. Special attention will be given to the art of van Eyck, Memling, Vermeer and, especially Rembrandt. Topics will include the implications of Protestantism in the Dutch Republic, the development of genre painting and the riddle of realism. Prerequisite: Any one term of art history or permission of the instructor. 6 cr., AL, WinterA. Kettering
ARTH 240. Art Since 1945
Art from abstract expressionism to the present, with particular focus on issues such as the modernist artist-hero; the emergence of alternative or non-traditional media; the influence of the women's movement and the gay/lesbian liberation movement on contemporary art; and postmodern theory and practice. Prerequisite: Any one term of art history. 6 cr., AL, WinterB. Jarman
ARTH 242. Impressionism
French painting of the second half of the nineteenth century. Concentration on the major artists: Manet, Degas, Morisot, Cassatt, Monet, Renoir, Seurat, Cezanne, van Gogh, Gauguin, et al. Prerequisite: Any one term of art history. 6 cr., AL, RAD, Not offered in 2008-2009.
ARTH 244. Decadent Dandies & Romantic Reformers: The Anglo-American Aesthetic Movement, 1870-1900
Espousing the credo of "art for art's sake," the Aesthetic Movement sought to liberate artistic expression from Victorian morality and philistinism. But clear definitions or precise boundaries for the movement remain elusive. Arising out of the Pre-Raphaelite Movement, intersecting with the Arts and Crafts Movement, and feeding into the Art Nouveau Movement, the Aesthetic Movement emerged in Britain around 1870 and spread to the United States shortly thereafter. Figures who will receive significant attention include the painters James McNeill Whistler and Dante Gabriel Rossetti, art critics Walter Pater and Oscar Wilde, and architects and designers E.W. Godwin and William Morris. Prerequisite: 100-level art history course. 6 cr., AL, Not offered in 2008-2009.
ARTH 245. Modern Architecture
The history of the modern movement from its beginnings in the nineteenth century to its triumph in the mid-twentieth century. Architects studied include Sullivan, Wright, Gropius, Le Corbusier, Mies van der Rohe. Prerequisite: Any one term of art history. 6 cr., AL, FallB. Jarman
ARTH 247. Architecture Since 1950
Continuation of Art History 245 including the backlash against modernism, post-modern developments, and the current scene. Architects studied include Mies and Le Corbusier (the late works of each), Aalto, Kahn, Rudolph, Venturi, Gehry. Prerequistie: Any one term of art history. 6 cr., AL, Not offered in 2008-2009.
ARTH 285. Topics: Ceramics of the Islamic World
Since the ninth century, ceramics have been one of the most vibrant and creative media in Islamic art. This course will trace the development of Islamic ceramics from the earliest Abbasid wares of Baghdad and Samarra through the nineteenth century tile work of Qajar Iran. Themes will include the creation of new glazes, materials, techniques and designs; artistic interaction with China; the relationship between tile work and portable vessels; the migration of artists and techniques in response to economic and political pressures; the influence of other media, such as metalwork and glass; and the social context and patronage of ceramics. Prerequisite: Any one term of art history. 6 cr., AL, FallM. Michailidis
ARTH 288. Curatorial Seminar
An art museum collects artifacts as emblems of creativity, examples of craftsmanship, and as "emissaries of culture." The collection, often an accumulation of donated personal collections, is a reminder of past tastes and institutional practices. This course will entertain theoretical and historical questions about the nature of museums and collections, and also engage with practical museum procedures and projects. Assignments will bring into focus the special history and function of art collections and museums in a college context. Students will contribute to an exhibition and speculate on possible curricular uses of the Carleton College collection. Prerequisite: Permission of the instructor. 6 cr., AL, Not offered in 2008-2009.
ARTH 298. Seminar for Art History Majors
An intensive study of the nature of art history as an intellectual discipline and of the approaches scholars have taken to various art historical problems. Attention as well to principles of current art historical research and writing. Recommended for juniors who have declared art history as a major. 6 cr., S/CR/NC, AL, SpringK. Ryor
ARTH 308. Planning Utopia: Ideal Cities in Theory and Practice
This five-week seminar will survey the history of ideal plans for the built urban environment. Particular attention will be given to examples from about 1850 to the present. Projects chosen by students will greatly influence the course content, but subjects likely to receive sustained attention include: Renaissance ideal cities, conceptions of public and private space, civic rituals, the industrial city, Baron Haussmann’s Renovations of Paris, suburbanization, the Garden City movement, zoning legislation, Le Corbusier’s Ville Contemporaine, Frank Lloyd Wright’s Broadacre City, New Urbanism and urban renewal, and planned capitals such as Brasília, Canberra, Chandigarh, and Washington, D.C. Prerequisite: Any one term of art history. 3 cr., AL, SpringB. Jarman
ARTH 309. Historic Preservation
This five-week seminar will provide a general introduction to the topic of historic preservation. We will study the evolution of the field and consider theoretical, practical, ethical, and legal issues pertaining to the selective maintenance of the built environment. Projects chosen by students will greatly affect the course content, but subjects likely to receive sustained attention include: the pedagogy of site interpretation, historic districting, private versus public preservation schemes, heritage tourism, industrial site preservation, UNESCO World Heritage sites, downtown revitalization projects, historic house management, and preservation legislation. Several field trips will be required for this course. Prerequisite: Any one term of art history. 3 cr., AL, SpringB. Jarman
ARTH 310. The Architecture of Frank Lloyd Wright
This seminar will examine the buildings of Frank Lloyd Wright as part of both an American architectural tradition and an emerging international modern architecture movement. We will study Wright's enigmatic personality, tracing interconnections between his personal life, his professional career, and his architectural principles. Wright's work will be positioned within a social history of the United States that focuses upon changing notions of domesticity and urbanism. We will also examine Wright's fascination with new building technologies and his extensive work in the decorative arts. We will visit several major Wright landmarks during a weekend field trip to Chicago in May. Prerequisite: Any one art history or American studies course. 6 cr., AL, Not offered in 2008-2009.
ARTH 400. Integrative Exercise
The integrative exercise for the art history major has two components: 1) A presentation to introductory students of a topic chosen by the senior; 2) A three-hour examination, made up and graded by an outside examiner, on western art with emphasis on the period from the Renaissance to the present. Each component is worth three credits. 6 cr., S/NC, ND, Fall,Winter,SpringK. Ryor
ARTS 110. Observational Drawing
A beginning course for non-majors and for those who contemplate majoring in art. The aim of the course is to give the student an appreciation of art and of drawing. An understanding of aesthetic values and development of technical skills are achieved through a series of studio problems which naturally follow one another and deal with the analysis and use of line, shape, volume, space, and tone. A wide range of subjects are used, including still life, landscape and the human figure. No prerequisites. 6 cr., AL, Fall,Winter,SpringD. Bruggeman, F. Hagstrom, D. Lefkowitz
ARTS 113. Field Drawing
A beginning drawing course for science students and others who are interested in developing their skills in drawing from nature. Much of the classwork will be done outdoors and deal directly with drawing from plant forms, geological sources, and the landscape as subjects. Emphasis will be placed on the development of the technical skills needed for visual note-taking and development of journals. Problems will deal with the analysis of space and objects through line, shape, volume, and tone. No prerequisites. 6 cr., AL, SpringD. Bruggeman
ARTS 122. Introduction to Sculpture
The ability to build structures that reflect or alter the environment is a basic defining characteristic of our species. In this class we explore creative construction in three dimensions using a variety of media, including plaster, wood, and steel. Using both natural and architectural objects for inspiration, we will examine and manipulate form, space, and expressive content to develop a deeper understanding of this core trait and reawaken our experience of the spaces we inhabit. 6 cr., AL, Fall,Winter,SpringS. Mohring
ARTS 210. Life Drawing
The human form will be the major concentration using drawing as a means to heighten an awareness and sensitivity to form. A variety of media and materials will be explored: pencil, ink, conte, charcoal and collage. Prerequisite: Studio Art 110. 6 cr., AL, WinterD. Bruggeman
ARTS 212. Australia/New Zealand Program: Mixed-Media Drawing
This course involves extending basic drawing problems by use of varied media and scale. Processes used could include watercolor, pen and ink, and bookbinding. Prerequisite: Studio Art 110 or 113. 6 cr., AL, WinterF. Hagstrom
ARTS 230. Ceramics: Throwing
This course is an introduction to wheel throwing as a primary method to construct both functional and non-functional ceramic forms. An understanding of aesthetic values and technical skills are achieved through studio practice, readings, and demonstrations. Basic glaze and clay calculations, kiln firing techniques, and some handbuilding methods will be covered. Prerequisite: Studio Art 110, 113 or 122. 6 cr., AL, FallK. Connole
ARTS 232. Ceramics: Handbuilding
This course is an introduction to handbuilding as a primary method to construct both functional and non-functional ceramic forms with a focus on experimentation. An understanding of aesthetic values and technical skills are achieved through studio practice, readings, and demonstrations. Basic glaze and clay calculations, kiln firing techniques, and basic throwing methods will be covered. Prerequisite: Studio Art 110, 113 or 122. 6 cr., AL, WinterK. Connole
ARTS 238. Photography I
This course introduces the student to the operation of the 35mm camera, film processing and black and white printing techniques. Through lectures, demonstrations, readings, field trips and critiques we rigorously view and question the nature of photography. Assignments will cover a range of photographic genres. A personal investigation of these photographic experiences will result in a final portfolio of finished prints and accompanying field guide. Some manual cameras provided, check with instructor. Prerequisite: Studio Art 110 or 113. 6 cr., AL, Winter,SpringL. Rossi
ARTS 251. Metalsmithing
A basic course in metal design and fabrication of primarily jewelry forms and functional objects. Specific instruction will be given in developing the skills of forming, joining, and surface enrichment to achieve complex metal pieces. Using both natural and man-made objects as source material, the course complicates the concept of adornment and examine how jewelry forms relate to the human body. Found materials will be used in addition to traditional metals including copper, brass, and silver. Prerequisite: Studio Art 110, 113 or 122. 6 cr., AL, Fall,WinterK. Connole
ARTS 260. Painting
The course serves as an introduction to the language of painting. Students develop a facility with the physical tools of painting-brushes, paint and surfaces--as they gain a fluency with the basic formal elements of the discipline--color, form, value, composition and space. Students are also challenged to consider the choices they make in determining the content and ideas expressed in the work, and how to most effectively convey them. Prerequisite: Studio Art 110 or 113. 6 cr., AL, Winter,SpringD. Lefkowitz
ARTS 274. Australia/New Zealand Program: Printmaking
Intaglio and relief printmaking using the facilities of host universities. Students will receive instruction in all of the processes of intaglio and relief printmaking. Students will explore the possibilities of this form of printmaking in conjunction with their work in a drawing class. Prerequisite: Studio Art 110 or 113. 6 cr., AL, WinterF. Hagstrom
ARTS 274. Printmaking
Students will select from intaglio, relief, lithography, silkscreen, or letterpress printing. Both terms are open to beginning or intermediate levels of experience. The course involves developing an image over time, taking advantage of a rich and demanding process. Students receive a sound technical training in at least one of the print processes. Grade will be based on the final portfolio, examining both growth in image and technical facility. Prerequisite: Studio Art 110 or 113. 6 cr., AL, FallF. Hagstrom
ARTS 275. Australia/New Zealand Program: Physical and Cultural Environment of Australia and New Zealand
An interdisciplinary course which examines how Australia and New Zealand have changed since colonization. We will examine both how the physical landscape has been changed through agriculture, mining and the importation of non-native species as well as studying the unique social and political climates of two countries which share a history of colonization. The course will use readings, meetings with visiting artists and lectures as well as visits to cultural centers. 6 cr., S/CR/NC, SS, RAD, WinterF. Hagstrom
ARTS 276. Paper Arts
This class will introduce students to the principal aspects of hand papermaking. Work will include processing raw fiber and recycled materials, dyeing and pigmenting pulp, exploring Eastern and Western sheet formation styles, and examining various drying and finishing techniques. The first half of the course will culminate with a handmade paper book project. The second half of the course will focus on sculptural applications of handmade paper. Students will construct moulds, cast paper pieces, and create three-dimensional objects through the use of armatures. Throughout the course, the history of paper will be discussed. Prerequisite: Studio Art 110 or 113. 6 cr., AL, WinterJ. Rathermel
ARTS 298. Critical Issues in Contemporary Arts
Required for the studio major, and recommended for the junior year, this seminar is for student artists considering lives as producers of visual culture. The goal in this class is to develop a familiarity with important questions, both practical and theoretical, facing artists today. We will examine how art is disseminated, understood, and at times, misunderstood. Be prepared to read, write about, and discuss essays, criticism, and interviews covering a wide range of media, and visit artists' studios and exhibition venues. Students will help select topics, direct discussions, and organize a brief presentation about their own artistic development. 6 cr., S/CR/NC, AL, SpringS. Mohring
ARTS 322. Sculpture: Form and Context
In this seminar we will expand on our exploration of sculpture--further developing the studio based investigation of Arts 122 while adding interior and exterior site specific installation, robotics, and digital media, to the range of possibilities. Prerequisite: Studio Art 122 or by permission of the instructor. 6 cr., AL, Not offered in 2008-2009.
ARTS 327. Woodworking: The Table
This class explores the wondrous joys and enlightening frustrations of an intensive material focus in wood. From the perspective of both functional and non-functional design, we will examine wood's physical, visual, philosophical, and expressive properties. Several short projects will culminate in an examination of the table as a conceptual construct, and five week design/build challenge. Prerequisite: Studio Art 122 or by permission of the instructor. 6 cr., AL, WinterS. Mohring
ARTS 330. Advanced Ceramics
This course is a continuation of either or both beginning courses, focusing on sophisticated handbuilding and throwing techniques and advanced problem solving in ceramics. Development of a personal voice is encouraged through open-ended assignments deepening exploration into the expressive nature of clay. Glaze calculations, kiln firing theory, and alternative firing techniques will broaden approaches to surface design. Prerequisite: Studio Art 230 and/or Studio Art 232. 6 cr., AL, SpringK. Connole
ARTS 338. Advanced Photo: Color Photography
This course is a continuation of Photography I, focusing on color theory, printing and advanced problem solving in both the color and black and white labs. Assignments are more experimental in nature addressing the fabricated image and photomontage. We will view a broad range of work from contemporary artists, including; mixed media and installation. Prerequisites: Studio Art 238, and 110 or 113. 6 cr., AL, Not offered in 2008-2009.
ARTS 339. Advanced Photo: Digital Imaging
This course will explore some of the technical, aesthetic and critical issues of digital media. To increase our understanding of digital materials, we begin with the simplicity of a pinhole camera from which we scan our paper negatives and create a relationship between the darkroom and the computer lab. We will work with digital cameras, scanners, printers and Photoshop and I-movie programs. As an extension of photo 1, sequencing the development of visual narrative will be explored. Through specific assignments and personal experimentation the student will complete a bound book of digital prints and a DVD of moving images and sound (Digital cameras are provided.) Prerequisite: Studio Art 238, and 110 or 113. 6 cr., AL, WinterL. Rossi
ARTS 351. Advanced Metals
This course continues the investigation of metalsmithing with more focus on vessel making, hollow forms, boxes, and the development of a personal voice in metal. Techniques explored include raising, fabrication, lost wax casting and further development of surfaces on both copper and silver. Prerequisite: Studio Art 251. 6 cr., AL, SpringK. Connole
ARTS 360. Advanced Painting & Drawing
This course is designed for students who want to explore these 2-D media in greater depth. Students may choose to work exclusively in painting or drawing, or may combine media if they like. Some projects in the course emphasize strengthening students' facility in traditional uses of each medium, while others are designed to encourage students to challenge assumptions about what a painting or drawing can be. Two major assignments make up the core of the course-one focuses on art making as an evolving process and the other on a critical engagement with systems of visual representation. Prerequisite: Studio Art 110 and 260 (for students focusing on painting) or two prior drawing or printmaking courses from the following group-Studio Art 110, 113, 210, 212, and 274 (for students focusing on drawing). 6 cr., AL, FallD. Lefkowitz
ARTS 374. Advanced Printmaking and Book Arts
This course is a continuation from the introductory level print courses, offering instruction in any of the print media- intaglio, relief, silk-screen, lithography and letterpress. In addition, several binding techniques are taught, and some of the assignments can be fulfilled by book-based projects. 6 cr., AL, SpringF. Hagstrom