Carleton College

ARTH 100. Art, Death, and the Middle Ages What happens to the body and soul when we die? What will the afterlife look like, and how should we prepare? How should we commemorate the dead? Questions like these occupied medieval Christians, and inspired tremendous artistic production ranging from personal prayer books to pilgrimage churches featuring stained glass, sculpture, and precious objects. We will consider the veneration of saints relics, burial and commemoration, and images of judgment, Hell, Purgatory, and Heaven. Our study of the visual expression of medieval Christian attitudes towards death will invite comparison to modern western attitudes and to those of other cultural and religious traditions. 6 cr., AI, WR1, IS, Fall—C. Walden

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, Fall—B. Jarman

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, Winter—R. Elfline, K. Ryor

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, Not offered in 2013-2014.

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 2013-2014.

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, Not offered in 2013-2014.

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 2013-2014.

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, Spring—K. Ryor

ARTH 170. History of Printmaking The course explores printmaking'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 Dürer, 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, Fall—A. Kettering

ARTH 171. 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. 6 cr., AL, RAD; LA, Offered in alternate years. Not offered in 2013-2014.

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, Fall—R. Elfline

ARTH 180. Medieval Art Survey of architecture, sculpture, the pictorial and decorative arts from the early Christian period to the late Gothic era. Topics include early Christian mosaics, Insular manuscripts, Romanesque monastery and pilgrimage churches, Gothic cathedrals. 6 cr., AL; LA, Winter—C. Walden

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 2013-2014.

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, LA, Offered in alternate years. Fall—Non-Carleton faculty

ARTH 220. The Origins of Manga: 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 socio-economic 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 100 level art history course. 6 cr., AL; LA, IS, Offered in alternate years. Winter—K. Ryor

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 2013-2014.

ARTH 226. The Gothic Cathedral This course focuses on a selection of high-profile French and English churches built in the Gothic period: the Sainte-Chapelle, Reims Cathedral, and Westminster Abbey. Each commission brought together the finest artists working in a variety of media. We will examine architectural developments of the period, and related arts such as stained glass, sculpture, tombs, shrines, and illuminated manuscripts. More broadly, these works provide a lens through which to consider social, religious, and political issues, especially the cult of saints, the Crusades, and the growing powers of the French and English monarchies. Prerequisite: Any art history course. 6 cr., AL; LA, IS, Not offered in 2013-2014.

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 Grunewald, 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, Not offered in 2013-2014.

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 2013-2014.

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, Spring—A. 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, Fall—R. 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, Not offered in 2013-2014.

ARTH 247. Architecture Since 1950 This course begins by considering the international triumph of architecture'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 movement'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, Winter—R. 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 2013-2014.

ARTH 252. Islamic Art and the Medieval Mediterranean This course investigates the origins and development of Islamic art and architecture from the seventh to the sixteenth centuries, with a particular focus on the Mediterranean basin. Under Muslim rule, patrons and artists produced a distinctive and sophisticated visual culture in religious and secular contexts. Topics to be addressed include the expression of cultural and religious identity through visual arts; palace architecture and Islamic court culture; the development of sacred spaces; and cross-cultural exchange with the Byzantine Empire and the Christian west through trade, travel, and at specific sites such as Islamic Spain, Norman Sicily, and Crusader Palestine. Prerequisite: One art history course or permission of the instructor. 6 cr., LA, IS, Winter—C. Walden

ARTH 261. English Theater and Literature in London: The Art of Tudor and Stuart Britain With a focus on the intersections of art, culture, and literature, the course explores various aspects of art in the English Renaissance, including patronage, politics and power, religion, and the role of the artist in society. Students will research specific artworks (for example, Holbein's The Ambassadors, Henry VIII's tapestries at Hampton Court Palace, The Banqueting House, St. Paul's Cathedral), visit historical sites and museums, and work with local experts as they develop their understanding and appreciation of Elizabethan and Jacobean art. 3 cr., AL; LA, IS, Winter—J. Shibata, P. Hecker

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 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 Brasílian, Canberra, Chandigarh, and Washington, D.C. Prerequisite: Any one term of art history. Extra time. 6 cr., AL; LA, IS, Not offered in 2013-2014.

ARTH 267. Gardens in China and Japan A garden is usually defined as a piece of land that is cultivated or manipulated in some way by man for one or more purposes. Gardens often take the form of an aestheticized space that miniaturizes the natural landscape. This course will explore the historical phenomenon of garden building in China and Japan with a special emphasis on how cultural and religious attitudes towards nature contribute to the development of gardens in urban and suburban environments. In addition to studying historical source material, students will be required to apply their knowledge by building both virtual and physical re-creations of gardens. 6 cr., ARP, IS, Offered in alternate years. Spring—K. Ryor

ARTH 285. The Art of Death in the Middle Ages Concerns about death, the afterlife, and personal commemoration resulted in rich visual expression in the medieval period. Three main areas of inquiry will be addressed in this class: pilgrimage and the commemoration of saints (the special dead); the death and commemoration of "ordinary" individuals; and depictions of and attitudes toward the body, death, burial, Purgatory, the Last Judgment, and resurrection. Prerequisite: Any art history course. 6 cr., AL; LA, IS, Not offered in 2013-2014.

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, Spring—R. Elfline

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, Not offered in 2013-2014.

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 2013-2014.

ARTH 289. Special Projects: The Carleton Art Collection This small seminar invites students to work with the Carleton Art Collection, currently numbering about 2300 objects and recently located to the Weitz Center for Creativity. Student research and writing will be directed toward donor histories and collection strengths. In addition to guided individual projects, each student will create a brief narrative video highlighting works from the collection. These collection "tours" will be posted on the Perlman Teaching Museum website. 3 cr., ND; NE, Not offered in 2013-2014.

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, Spring—B. Jarman

ARTH 307. Rome: The Art of Michelangelo and Caravaggio Early Modern Rome flourished as a center of art and architecture, reviving its position in classical antiquity. This course is organized around three major artists, Michelangelo, Caravaggio, and Bernini, and secondarily Annibale Carracci and Orazio and Artemisia Gentileschi in Rome, and such foreign artists as Rubens, Velazquez, and Poussin. Recurring themes will include the mechanisms of patronage, concepts of the naturalistic, artistic self-definition, church renewal, the urban landscape, and the interdependence of architecture and society. The major question throughout the term: What difference does it make that this art was produced in Rome? Prerequisite: Any art history course. 6 cr., AL, WR; LA, WR2, IS, Not offered in 2013-2014.

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 2013-2014.

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, Not offered in 2013-2014.

ARTH 333. Visual Culture and the Civil War How did images reflect and shape popular attitudes towards the events and issues of the American Civil War? This seminar will investigate various visual media, ranging from printed ephemera to fine art, seeking answers to this question. The course will analyze reportage and artworks portraying specific events, such as the Battle of Gettysburg and the assassination of President Lincoln, as well as examine pictorial treatments of subjects such as slavery and emancipation, secession and union, military camp life and the home front. Later thematic directions for the course will be influenced by individual student research projects. Prerequisite: Any 200-level art history course or by permission of the instructor. 6 cr., WR; LA, WR2, IDS, Winter—B. Jarman

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 modernism'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 2013-2014.

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 2013-2014.

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,Spring—Staff

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. Prerequisite: No prerequisites. 6 cr., AL; ARP, Fall,Winter,Spring—D. 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. Prerequisite: No prerequisites. 6 cr., AL; ARP, Spring—D. 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, Winter,Spring—S. 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 farmer'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, Spring

ARTS 141. Experimental Photography In this course we will explore the rich history of photography's experimental development through the use of light and chemistry. Our focus will be on black and white darkroom experimentation and color scanning and digital printing. Demonstrations will cover a wide range of materials and techniques such as; the making of pin hole cameras, paper negatives, photograms, photomontages, and the use of toning, solarization and liquid emulsion on paper and glass. Students will create a portfolio and recipe book of their experimental investigations. 6 cr., AL; ARP, Fall,Winter—L. Rossi

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, Winter—D. Bruggeman

ARTS 212. Studio Art Seminar in the South Pacific: Mixed-Media Drawing This course involves directed drawing in bound sketchbooks, using a variety of drawing media, and requires on-going, self-directed drawing in visual journals. Subjects will include landscape, figure, portraits, and nature study. The course will require some hiking in rugged areas. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, Offered in alternate years. Not offered in 2013-2014.

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, Fall—K. 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; ARP, Winter—K. Connole

ARTS 234. The Figure in Clay This course is an introduction to the figurative and narrative potential of clay as a sculptural medium. Through hands-on demonstrations, lectures, readings, and assignments students will develop an understanding of both contemporary and historical approaches to forming the human figure in clay. The relationship artists have with the human body is complex and has been the subject of religious, philosophical and personal investigation for centuries. This course will analyze this relationship while developing technical skills in construction and firing techniques specific to ceramics. Prerequisite: Studio Art 110, 113, or 122. 6 cr., AL; ARP, Not offered in 2013-2014.

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, Not offered in 2013-2014.

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 today'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, Not offered in 2013-2014.

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, Fall,Winter—D. Saathoff

ARTS 252. Metalsmithing: Casting and Color This course focuses on casting, enameling, and stone setting as methods of creating jewelry and small sculptural objects in copper and silver. Specific instruction will be given in developing the skills of forming, joining, and surface enrichment to achieve complex metal pieces. Previous experience with metalsmithing is not required but may be helpful. Prerequisite: Studio Art 110, 113 or 122. 6 cr., ARP, Spring—D. Saathoff

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, Winter,Spring—D. 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 2013-2014.

ARTS 262. English Theater and Literature in London: Visualizing the Renaissance What did the English Renaissance look like? Through on-site observational drawing, watercolor and gouache painting, and/or digital photography, students will investigate the paintings, ceramics, woodwork, metalwork, textiles, fashion, heraldry, architecture, and landscape gardening of early modern England. The critical observation and artistic rendering of these objects and spaces will afford students a window into the culture of the English Renaissance as they acquaint themselves with the visual vocabulary of the past. 3 cr., AL; ARP, IS, Winter—J. Shibata

ARTS 274. Studio Art Seminar in the South Pacific: 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, Offered in alternate years. Not offered in 2013-2014.

ARTS 274. Printmaking This course provides instruction in the techniques of intaglio and relief printmaking. Students will work in printmaking media on directed projects, exploring the story-like nature of visual art. Participation in critiques and group assignments as well as individually directed work will be required. Prerequisite: Studio Art 110 or 113. 6 cr., AL; ARP, Offered in alternate years. Winter—F. Hagstrom

ARTS 275. Studio Art Seminar in the South Pacific: Physical & Cultural Environment of Australia & New Zealand This course examines how Australia and New Zealand have changed since colonization. Students study the physical and environmental beginnings of these countries and learn about the history of their indigenous people, noting how the physical landscape has been changed through agriculture, mining, and the importation of non-native species. This course will include readings, meetings with visiting artists and lecturers, and visits to cultural centers. 6 cr., S/CR/NC, SS; LA, IS, Not offered in 2013-2014.

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 2013-2014.

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 2013-2014.

ARTS 280. Bookbinding This class will introduce the fundamentals of hand bookbinding with special emphasis on making journals and albums. We will learn several different binding methods using historical and non-traditional techniques and a variety of different materials, tools and adhesives. In addition we will cover basic box making. Boxes, like books, serve many purposes, one being to house and protect valuable and fragile objects. We will make slipcases and clamshell boxes to protect books and prints. Prerequisite: Studio Art 110 or 113. 6 cr., ARP, Fall—J. Pullman

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, Spring—L. Rossi

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, Not offered in 2013-2014.

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, Spring—S. 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, Spring—K. 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: Studio Art 110 or 113, and 238 or 240 or Arts 141 or by permission of the instructor. 6 cr., ARP, Winter—L. 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 2013-2014.

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, Fall—D. 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, Spring—F. Hagstrom

ARTS 400. Integrative Exercise 6 cr., S/NC, ND, Fall,Winter,Spring—Staff