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, one course in art history of the western tradition before 1800, one course in art history of the western tradition after 1800, and one 300-level seminar. Art History majors are encouraged to take advantage of off-campus study programs. No more than two art history 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, 240, 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, six credits in courses which concentrate in contemporary art post 1945, and six elective credits. Potential majors should enroll in Drawing or Sculpture their first year. One of the following Cinema and Media Studies courses can count toward one elective credit within the major: Cinema and Media Studies 111, 270, 271, 281 and 282. One of the following Cinema and Media Studies courses can count towards the Art History requirement within the major: Cinema and Media Studies 210, 211, or 228.
ARTH 100. Art in the Age of Globalization
In this course, students will investigate the complex relationship between the art world and the forces of globalization. As the art market expands to include the visual culture of developing nations, as new media bring an increasing number of visual producers into instant contact with new audiences, and as large-scale mega-exhibitions proliferate, the once-stodgy art world must contend with this fundamental change to how it does business. Among other issues, we will consider how artists represent our globalized environment; the changing role of museums, galleries and exhibitions; and the shifting status of the artist from lone genius to savvy entrepreneur. 6 cr., AI, WR1, IS, FallR. Elfline
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, WR; LA, WR2, IS, FallB. Jarman, A. Kettering
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, WR, RAD; LA, WR2, IS, WinterB. Jarman
ARTH 140. African Art and Culture
This course will survey the art and architecture of African peoples from prehistory to the present. Focusing on significant case studies in various mediums (including sculpture, painting, architecture, masquerades and body arts), this course will consider the social, cultural, aesthetic and political contexts in which artistic practices developed both on the African continent and beyond. Major themes will include the use of art for status production, the use of aesthetic objects in social rituals and how the history of African and African diaspora art has been written and institutionally framed. 6 cr., AL, RAD; LA, IS, FallR. Elfline
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; LA, IS, Not offered in 2011-2012.
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; LA, IS, Not offered in 2011-2012.
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; LA, IDS, Not offered in 2011-2012.
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; LA, IS, SpringK. 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; LA, IS, Not offered in 2011-2012.
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; LA, IS, Not offered in 2011-2012.
ARTH 170. Printmaking: The First Media Revolution
The course explores printmakingâ€™s effects on Western ways of understanding the world; until photography prints were the only exactly repeatable pictorial statements their audiences knew. It examines how prints functioned in their cultures (their originality, production, marketing, collecting). Woodcut, engraving, etching, aquatint, and lithography, c.1400-1930, are studied through such artists as DÃ¼rer, Rembrandt, Goya, Daumier, Toulouse-Lautrec, Cassatt, and Kollwitz. The class works extensively with prints in the collections of the Minneapolis Institute of Arts (three field trips) and the Carleton Art Gallery. Students taking the course for 4 credits write one fewer paper and a shortened final exam. 4 or 6 cr., AL, WR; LA, WR2, Not offered in 2011-2012.
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; LA, IS, Not offered in 2011-2012.
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; LA, IS, Not offered in 2011-2012.
ARTH 215. Cross Cultural Psychology in Prague: Modern Art in the Czech Lands:Nineteenth-Twenty-First Centuries
The course provides an introduction to various aspects of contemporary arts and architecture in Czech culture. Students will examine the relationship between the construction of memory and the construction of contemporary art, architecture, and writings through lectures, discussions, and visits to galleries and architecutural sites within the city of Prague. 4 cr., S/CR/NC, AL; LA, Not offered in 2011-2012.
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 socioÂeconomic 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; LA, IS, Not offered in 2011-2012.
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; LA, Not offered in 2011-2012.
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, WR, RAD; LA, WR2, Not offered in 2011-2012.
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 GrÃ¼newald, 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. 4 or 6 cr., AL, WR; LA, WR2, FallA. Kettering
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, WR; LA, WR2, Not offered in 2011-2012.
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, WR; LA, WR2, SpringA. 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, WR; LA, WR2, IDS, WinterR. Elfline
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; LA, FallB. Jarman
ARTH 247. Architecture Since 1950
This course begins by considering the international triumph of architectureâ€™s Modern Movement as seen in key works by Mies van der Rohe, Le Corbusier and their followers. Soon after modernisms rise, however, architects began to question the movementâ€™s tenets and the role that architecture as a discipline plays in the fashioning of society. This course will examine the central actors in this backlash from Britain, France, Italy, Japan, the United States and elsewhere before exploring the architectural debates surrounding definitions of postmodernism. The course will conclude by considering the impact of both modernism and postmodernism on contemporary architectural practice. 6 cr., AL; LA, WinterR. Elfline
ARTH 251. Ruins and Romantics: English Gothic and Gothic-Revival Art and Architecture
The culture shock of the Industrial Revolution in England sparked a favorable reappraisal of the Middle Ages, previously regarded as a bleak historical epoch. Starting in the late eighteenth century, Gothic Revivalists, skeptical of machine-age progress, sought to revitalize imagined qualities of medieval society, such as spirituality, craftsmanship, and communalism. This course will explore interpretations of medieval English culture by anti-modernists such as the Pre-Raphaelites, Arts and Crafts workers, and others. This course is part of the off-campus winter break England program, involving two linked courses in fall and winter terms; this class is the first class in the sequence. Prerequisite: Two art history courses and permission of the instructor. 6 cr., AL; LA, IS, Not offered in 2011-2012.
ARTH 266. Planning Utopia: Ideal Cities in Theory and Practice
This course surveys the history of ideal plans for the built urban environment. Particular attention will be given to examples from about 1800 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 Haussmannâ€™s renovations of Paris, suburbanization, the Garden City movement, zoning legislation, Le Corbusierâ€™s Ville Contemporaine, Frank Lloyd Wrightâ€™s Broadacre City, New Urbanism and urban renewal, and planned capitals such as BrasÃlia, Canberra, Chandigarh, and Washington, D.C. Prerequisite: Any one term of art history. Extra time. 6 cr., AL; LA, IS, SpringB. Jarman
ARTH 286. Legacies of the Avant-Garde: Dada Then and Now
By definition, the artistic neo-avantgarde of the post-1945 era looked back to the historical avant-garde movements of the early twentieth century for inspiration and ideological support. This course will examine how one such historical movement, Dada, has continued to play a profound role in shaping how artists define art and use the art object as an active force to radically alter everyday life. In particular, we will investigate the ways in which Dadaists used chance, humor, irony, negation and the ready made to challenge the institution of art, and then trace the legacies of these practices in recent artistic practice. Prerequisite: Any one art history class. 6 cr., AL, WR; LA, WR2, Not offered in 2011-2012.
ARTH 287. Legacies of the Avant-Garde: Constructivism Then and Now
Contemporary artists often look to the historical avant-garde movements of earlier generations for inspiration and ideological support. This course will examine how the strategies of one such historical movement, Constructivism, continue to resonate in the art world as artists question both the definition of art and its broader role in society. In particular, this course will consider how Russian artists in the 1920s and 30s used monochrome painting, industrial materials, installation art, public demonstrations and propaganda to alter the institution of art. We will then trace the legacies of these disruptive practices in art of the recent past. 6 cr., AL; LA, IS, SpringR. Elfline
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; LA, Not offered in 2011-2012.
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; LA, 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; LA, IDS, Not offered in 2011-2012.
ARTH 320. Japanese Theater: Visualizing Narrative Across Media
This course will address the ways various forms of theater in Japan have responded to changing social and political forces over their histories. It will also interrogate the intersections, as well as crucial differences, between literary drama, performance, and representation in print media. Students will read a number of Kabuki and Noh plays, view films of performances of these plays, study illustrated books that preserve visual and textual records of performances, examine woodblock prints of actors in their roles from the eighteenth through twentieth centuries, and look at the development of costumes and masks. Prerequisite: Any 100 level art history course or Japanese studies course. 6 cr., AL; LA, IS, Not offered in 2011-2012.
ARTH 321. Arts of the Chinese Scholar's Studio
During the sixteenth and seventeenth centuries in China, unprecedented economic development and urbanization expanded the number of educated elite who used their wealth to both display their status and distinguish themselves as cultural leaders. As a result, this period experienced a boom in estate and garden building, art collecting and luxury consumption. This course will examine a wide range of objects from painting and calligraphy to furniture and ceramics within the context of domestic architecture of the late Ming dynasty. It will also examine the role of taste and social class in determining the style of art and architecture. Prerequisite: Any one term of art history. 6 cr., AL; LA, IS, SpringK. Ryor
ARTH 340. Theories of Postmodernism
In this discussion-based seminar, students will look closely at a series of key texts that have come to epitomize the historical rupture between modernism and postmodernism in visual culture. As "postmodernism" refers neither to a cohesive movement, nor to a specific style, we will investigate the web of various theories and political positions that represent a fundamental re-thinking of modernismâ€™s aims. Specifically, we will consider the following themes as they relate to cultural practices from the 1960s to the present day: deconstruction, the death of authorship, post-feminism, simulation, post-colonialism and globalization. Prerequisite: Any two art history courses. 6 cr., AL; LA, Offered in alternate years. Not offered in 2011-2012.
ARTH 351. English Art and Architecture on Site
This course is the second part of a two-term sequence beginning with Art History 251. The course starts with a two-week winter break trip in England, where we will visit many architectural sites and museum collections. During the winter term the course continues on campus, where each student will complete an independent research project involving regular progress reports, a formal presentation, and a final written paper. Prerequisite: Art History 251. 6 cr., AL; LA, IS, Not offered in 2011-2012.
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; NE, Fall,Winter,SpringStaff
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; ARP, Fall,Winter,SpringD. Bruggeman, F. Hagstrom, D. Lefkowitz
ARTS 113. Field Drawing
A beginning drawing course for students 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; ARP, SpringD. Bruggeman, D. Lefkowitz
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; ARP, Fall,Winter,SpringS. Mohring
ARTS 140. The Digital Landscape
Study nature aesthetics and examine your assumptions about the landscape photograph. Question the formal, moral and biological implications of your "framed view-point," as you move your lens across the prairies, woods and farmerâ€™s fields of Northfield. Reflect on the ways in which nature has been visually represented in the classroom, creating a three-way intersection between art, science and technology. In particular, what are the effects of two-dimensional representation on our estrangement from nature itself? Demonstrations, readings, discussions and field trips will help the student create a final portfolio of digital prints and text. Student must provide their own digital camera. 6 cr., AL; ARP, Not offered in 2011-2012.
ARTS 210. Life Drawing
Understanding the basic techniques of drawing the human form is fundamental to an art education and is the emphasis of this class. Humans have been engaged in the act of self-representation since the beginning of time. The relationship artists have had with drawing the human body is complex and has been the subject of religious, philosophical and personal investigation for centuries. Concentrating on representational drawing techniques we will explore a variety of media and materials. Supplemented by lectures, readings and critiques, students will develop an understanding of both contemporary and historical approaches to drawing the human figure. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, WinterD. Bruggeman
ARTS 212. Studio Art Seminar in the South Pacific: 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; ARP, Not offered in 2011-2012.
ARTS 228. Woodblock Printing
This course will explore ideas of both Western and Eastern printmaking techniques, combining todayâ€™s new technologies with the original process in many exciting ways. Students will study the print work of Rembrandt, Goya, Picasso and Munch, along with the Japanese masters Hiroshige, Utamaro and Hokusai. Students will use various types of wood, carving with knives, gouges, and dremel tools. In addition, surface-building techniques will be taught. The Western use of roller and intaglio, the system of printing multiple color blocks at once, the Japanese system of printing multiple color blocks, and the Japanese technique using watercolor, rice paste, and baren will be demonstrated. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, FallK. Shinohara
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; ARP, FallK. Connole, J. Shibata
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; ARP, 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; ARP, SpringL. Rossi
ARTS 240. Introduction to Film and Digital Photography
Learn the fine art of both black and white and color photography through the use of light sensitive silver and pigmented ink. Like the alchemist we will separate and join together the materials, concepts and technology of the past with todayâ€™s digital image. As we transition between chemicals in the darkroom and Photoshop in the digital lab we will explore the creative and cultural nature of photography. Studio production will be promoted through field trips, readings and critiques. Students will need their own digital camera, however film cameras will be provided. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, WinterL. 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 examines 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; ARP, FallK. 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; ARP, Fall,SpringD. Lefkowitz
ARTS 261. Water Based Painting
This course introduces students to the basic principles of painting with watercolor, gouache and acrylic paint. Specific instruction will be offered in developing skills in surface preparation, paint application and color mixing. Through lectures, demonstrations and critique we will explore basic tenets of pictorial arrangement and develop an individualized approach to ideas and content. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, Not offered in 2011-2012.
ARTS 274. Studio Art Seminar in the South Pacific: 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; ARP, Not offered in 2011-2012.
ARTS 274. 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; ARP, SpringF. Hagstrom
ARTS 275. Studio Art Seminar in the South Pacific: Physical & Cultural Environment of Australia & 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; LA, IS, Not offered in 2011-2012.
ARTS 276. Paper Arts: Sculptural Technique
This class introduces 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. While sheet formation will be explored, emphasis will be placed on the 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; ARP, Not offered in 2011-2012.
ARTS 277. Paper Arts: Artist's Books and Printmaking
This course provides an introductory instruction in printmaking while working in the book format. Students will learn at least one print technique in addition to various styles of binding. Through visits to special collections as well as narrative student projects, we will also begin an exploration of the medium of an artist's book. Prerequisite: Studio Art 110. 6 cr., AL; ARP, Not offered in 2011-2012.
ARTS 278. Paper Arts: Binding and Two-Dimensional Applications
This class introduces students to the fundamentals of handmade paper with special emphasis placed on its use as a substrate for printing, drawing, painting, and other media. Colorants, additives, fiber preparation and finishing techniques will be examined as will various sheet formation techniques including the use of stencils and pulp painting. The second half of the course will introduce students to a variety of binding techniques. Sewn single- and multi-signature bindings will be presented as will various adhesive bindings, decorative spine book structures, traditional Japanese bindings, hard cover formats, historical designs and non-traditional embellishment techniques. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, Not offered in 2011-2012.
ARTS 279. Paper Arts: The Book as an Artistic Medium
This course provides an introduction to working in the book format. In addition to various styles of bookbinding, students will learn to use the letterpress for printing and printmaking. Text and imagery will be combined to create context and narrative in various book formats. Through visits to special collections, lectures on the history of the book, exploration of contemporary artistsâ€™ books, along with creating class projects, students will acquire a strong grounding in aesthetic understanding and technical skill, in the book as an exciting artistic medium. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, WinterC. Shilling
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; ARP, SpringD. Bruggeman, K. Connole
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; ARP, WinterS. Mohring
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 six week design/build challenge. Prerequisite: Studio Art 122 or by permission of the instructor. 6 cr., AL; ARP, SpringS. 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; ARP, SpringK. Connole
ARTS 339. Advanced Photo: Digital Imaging
This course will explore the technical, aesthetic and critical issues of digital media. The student will work with digital cameras, scanners, printers and the Photoshop program. Through specific assignments, field trips and personal experimentation students will broaden their understanding of this new media. Students will need their own digital camera. Prerequisite: Prerequisites: Studio Art 110 or 113, and 238 or 240. 6 cr., AL; ARP, Not offered in 2011-2012.
ARTS 340. Advanced Film and Digital Photography
In advanced photography we will study the work of a broad range of contemporary photographers, who utilize both medium and large format cameras and studio and natural lighting, to create important and compelling works of art. We will build upon the skills and concepts you learned in Introduction to film and Digital Photography through the use of new photographic tools and ideas. Increasing our photoshop skills we will learn to both edit and sequence images, to create a photographic book and portfolio. Students will need their own digital camera. Prerequisite: Studio Art 110 or 113, and 238 or 240 or permission of the instructor. AL; ARP, SpringL. 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; ARP, Not offered in 2011-2012.
ARTS 360. Advanced Painting and 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; ARP, WinterD. 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; ARP, Not offered in 2011-2012.