Carleton College

ARTH 100. Renaissance, Revolution, and Reformation: The Life and Art of Albrecht Durer "If man devotes himself to art, much evil is avoided..." This statement, on the divine nature of art, was penned by the German artist Albrecht Dürer. Dürer's artworks--his paintings, his drawings, his woodblock prints, and his engravings--have been construed to be some of the most theologically sophisticated, naturalistically rendered, theoretically informed, classically inflected, and socially engaged of the period we now refer to as the "Renaissance." This thematically organized course will engage the work of Albrecht Dürer, around these issues. Discussions will be integrated with student presentations, analyses of primary and scholarly texts, and writing assignments. 6 cr., AI, WR1, IS, Fall—J. Keating

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., LA, WR2, IS, Fall—J. Keating, 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., LA, WR2, IS, Winter—R. Elfline, J. Keating

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., LA, IS, Not offered in 2015-2016.

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 nineteenth 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. 6 cr., LA, IS, Offered in alternate years. Spring—J. Keating

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., LA, IDS, Not offered in 2015-2016.

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., LA, IS, Winter—K. 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., LA, IS, Fall—K. Ryor

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., LA, IS, Not offered in 2015-2016.

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., LA, WR2, Not offered in 2015-2016.

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., LA, Offered in alternate years. Fall—B. Jarman

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., LA, IS, Not offered in 2015-2016.

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., LA, Not offered in 2015-2016.

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., LA, IS, Not offered in 2015-2016.

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 architectural sites within the city of Prague. 4 cr., S/CR/NC, LA, Offered in alternate years. Not offered in 2015-2016.

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: One 100 level Art History course. 6 cr., 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., LA, WR2, Not offered in 2015-2016.

ARTH 225. Religion, Royalty & Romantics: The Gothic and Gothic Revival This course examines Gothic art and architecture, both religious and secular, during the late Middle Ages and then again, with the Gothic Revival, after the Industrial Revolution. The course investigates how the concept of the Gothic evolved, explores how the Gothic style became invested with various cultural connotations, and traces its various deployments in popular culture. In the medieval period, this course focuses on works of art from France, England, Germany and Italy from the twelfth through fourteenth centuries. Discussions of the Gothic Revival from the nineteenth century onward focus more broadly upon Europe and the United States. Approximately half of the class sessions will be held at St. Olaf. 6 cr., LA, IS, Fall—B. Jarman, N. Thompson

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., LA, IS, Not offered in 2015-2016.

ARTH 235. Revival, Revelation, and Re-animation: The Art of Europe's "Renaissance" This course examines European artistic production in Italy, Spain, France, Germany, and the Netherlands from the fourteenth to the sixteenth century. The aim of the course is to introduce diverse forms of artistic production, as well as to analyze the religious, social, and political role of art in the period. While attending to the specificities of workshop practices, production techniques, materials, content, and form of the objects under discussion, the course also interrogates the ways in which these objects are and, at times, are not representative of the "Renaissance." Prerequisite: One Art History course or instructor permission. 6 cr., LA, IS, Offered in alternate years. Not offered in 2015-2016.

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., LA, WR2, Not offered in 2015-2016.

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., LA, WR2, IDS, Spring—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: One Art History course. 6 cr., LA, Not offered in 2015-2016.

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., LA, Fall—R. Elfline

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 instructor permission. 6 cr., LA, IS, Not offered in 2015-2016.

ARTH 255. Islam in the Eyes of the West How have images of Islam impacted European culture? How did existing pictorial traditions/practices frame the ways in which Islam was visualized in Europe? This course will interrogate the ways in which representational technologies facilitated and/or obstructed making sense of Islam from the twelfth to the nineteenth centuries. We will explore a wide range of images in diverse media, including, but not limited to, maps, costume books, panel paintings, sculpture, illuminated manuscripts, popular prints, ethnographic treatises, and early photographs. Prerequisite: Any art history course or permission of the instructor. 6 cr., LA, IS, Offered in alternate years. Not offered in 2015-2016.

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., LA, IS, Not offered in 2015-2016.

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. Not offered in 2015-2016.

ARTH 278. The Art of the Exhibition: Celebrating Carleton's 150-years Exhibitions can reveal, question, provoke, argue, and inspire. Combining objects, images, texts, space, and appealing to all five senses, the exhibition creates meaning through experience. How are successful exhibitions created? How do curators move from an initial idea to a fully realized exhibition? In this practicum, Gary Vikan '67, former director of the Walters Art Gallery in Baltimore, will collaborate with students to develop a 2016 fall term exhibition dedicated to Carleton's 150th Anniversary. Various college collections will provide material culture markers of the institution and its aspirations. 6 cr., HI, IDS, Spring—G. Vikan

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: One Art History course. 6 cr., LA, IS, Not offered in 2015-2016.

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: One Art History course. 6 cr., 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., LA, IS, Not offered in 2015-2016.

ARTH 288. Curatorial Seminar An art museum collects artifacts as containers of history and culture, and as repositories of craftsmanship and aesthetics. This course, focusing on college and university collections, will entertain theoretical and historical questions while also orchestrating a winter term exhibition drawn from over 2600 works in the Carleton Art Collection. To bring into focus the special nature of college museums, students will highlight possible curricular uses of the collection. Class participants will identify objects and themes, write labels and plan publicity, and each will create a brief narrative video highlighting works from the collection. Prerequisite: Instructor permission. 6 cr., LA, Not offered in 2015-2016.

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., NE, Not offered in 2015-2016.

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, LA, Winter—R. Elfline

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., LA, WR2, IS, Not offered in 2015-2016.

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: One Art History course . 6 cr., LA, IS, Not offered in 2015-2016.

ARTH 323. Idolatry Idolatry is an issue that has often determined how human beings interact with and conceive of the world around them. Focusing on the Judeo-Christian formulations of idolatry this course draws on a range of media, from the Hebrew Bible to the bones of saints and popular prints, as we analyze verbal and visual representations of the sacred and the profane. The driving questions will be: how have idols and idolaters been recognized in the past, and how have these various textual and visual formulations of idolatry shaped works of art from the ancient, medieval, and early modern worlds? Prerequisite: 200 level Art History course or instructor permission. 6 cr., WR; LA, WR2, IS, Winter—J. Keating

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: 200 level Art History course or instructor permission. 6 cr., LA, WR2, IDS, Not offered in 2015-2016.

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: Two Art History courses. 6 cr., LA, Offered in alternate years. Not offered in 2015-2016.

ARTH 400. Integrative Exercise The integrative exercise for the art history major involves an independent research project, on a topic chosen by the student and approved by faculty members, resulting in a substantial essay due late in the winter term. One credit is awarded, usually in the spring term, for a formal presentation that contextualizes the project and summarizes the argument of the essay. The other five credits may be distributed in any fashion over the fall and winter terms. Art History 400 is a continuing course; no grade will be awarded until all six credits are completed. 6 cr., S/CR/NC, NE, Fall—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. 6 cr., ARP, Fall,Winter,Spring—D. Bruggeman, 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. 6 cr., ARP, Spring—D. Bruggeman, E. Jensen

ARTS 120. Art, Interactivity, and Robotics In this hands-on studio centered course, we'll explore and create interactive three dimensional art. Using basic construction techniques, microprocessors, and programming, this class brings together the fundamentals of computer science, sculpture, engineering, and aesthetic design. Students will engage the nuts-and-bolts of fabrication, learn to program computers, and study how robots think. Collaborative labs and individual projects will culminate in a campus wide exhibition. No prior building or programming experience is required. Students who have taken Studio Art 122, Computer Science 111, IDSC 120, or any higher numbered Computer Science course are NOT eligible to enroll. 6 cr., ARP, Offered in alternate years. Winter—D. Musicant, S. Mohring

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., 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., ARP, Spring—L. Rossi

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., ARP, Fall,Winter—L. Rossi

ARTS 185. Critical Studies in Public Space with N55 In this course, students will work in collaboration with Danish art and design collective N55, who have been invited to campus as part of the Lucas Lectureship in the Arts. N55's practice embraces a critical investigation of how public spaces function in our contemporary era. Who has access to public space? Who has the right to build, and where? What is an environmentally ethical way to occupy the land? This winter, students will work alongside N55 to develop a speculative proposal for some aspect of the Carleton campus and will fabricate models or prototype structures to support this innovative scheme. 3 cr., ARP, Not offered in 2015-2016.

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., ARP, Not offered in 2015-2016.

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., ARP, Offered in alternate years. Not offered in 2015-2016.

ARTS 213. Elaborating on Perception: Drawing Drawing has always been characterized by two dominant narratives: one of appearance, the other of conception. In both cases, drawing can be defined as an engagement with the hand, the drawing material and the surface, with consideration given to a visual and/or conceptual subject. In this course we will develop both our perceptual and reflective skills through a series of projects that will challenge the student to explore and refine both traditional and unconventional drawing strategies. This course is part of the OCS winter break New York Program, involving two linked courses in fall and winter terms. This course is the first in the sequence. Prerequisite: Studio Art 110 or 113. 6 cr., ARP, Fall—D. Bruggeman

ARTS 214. Elaborating on Perception: Drawing (Part 2, Field Investigation and Portfolio Development) This course is the second part of a two-term course sequence beginning with ARTS 213. The course begins with a two-week visit in December to New York City. Field-work will include daily drawing requirements and visits to the studios of working artists, museums, galleries and art performances. In regular weekly meetings during the winter term on campus, our experiences will be synthesized into a series of drawing projects that will be presented in an exhibit in The Weitz Center. Prerequisite: Studio Art 213. 6 cr., ARP, Winter—D. Bruggeman

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., 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., ARP, Winter—K. O'Krongley

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., ARP, Not offered in 2015-2016.

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. Manual film cameras provided, check with instructor. Prerequisite: Studio Art 110 or 113 . 6 cr., ARP, Not offered in 2015-2016.

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., ARP, Fall—L. 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., ARP, Fall—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., ARP, Winter,Spring—D. Lefkowitz

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., ARP, IS, Not offered in 2015-2016.

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., ARP, Winter—F. Hagstrom

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., ARP, Offered in alternate years. Not offered in 2015-2016.

ARTS 275. Studio Art Seminar in the South Pacific: The Physical and Cultural Environment 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. Prerequisite: Studio Art 110 or 113 . 6 cr., S/CR/NC, SI, IS, Offered in alternate years. Not offered in 2015-2016.

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., ARP, Not offered in 2015-2016.

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, Not offered in 2015-2016.

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, ARP, Spring—D. Lefkowitz

ARTS 322. Sculpture 2: 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 Instructor Permission. 6 cr., ARP, Not offered in 2015-2016.

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, 222 or instructor permission. 6 cr., 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 or 232. 6 cr., ARP, Spring—J. Shibata

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 141, 238, or 240 or Instructor Permission. 6 cr., ARP, Winter—L. Rossi

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 . 6 cr., ARP, Not offered in 2015-2016.

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 Studio Art 110, 113, 210, 212, and 274 (for students focusing on drawing). 6 cr., ARP, Not offered in 2015-2016.

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., ARP, Spring—F. Hagstrom

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