Please Note: There is a $100.00 College Fee each semester for any student taking one or more studio art classes and/or seminars.  This is a College wide fee and is applied to all College costs. If a student decides to drop a studio arts class/seminar they must fill out a Drop/Add form, have it signed by the appropriate department faculty and deliver it to the Office of the Registrar on or before Wednesday, September 12, 2018,

5 PM or they will be charged and responsible for the $100.00 College Fee.

 

92001

ART 100

 Digital I: Digital to Physical

Maggie Hazen

 M          1:30- 4:30 pm

FISHER

PA

PART

4 credits  This course will provide an introductory approach to digital sculpture for visual artists. We will cover basic software and digital equipment by designing a series of versatile, studio driven images and sculptures on each piece of equipment in the Studio Arts digital lab and woodshop—taking the work from physical to digital and back again. Students will learn basic Adobe Creative Suite programs: Photoshop and Illustrator, along with open source 3D modelling software. Projects designed with these software programs will manifest physically through the use of industry standard equipment such as laser cutting, 3D printing, 3D scanning, digital printing and CNC available in our digital lab. Today, digital machines do not simply produce images and information; they produce subjects and govern ways of existing. No prior digital knowledge is necessary. Open only to Art Majors. Class size: 14

 

91998

ART 100 AC

 Digital I

Adriane Colburn

   Th       1:30-4:30 pm

FISHER

PA

PART

This course is an introduction to digital image creation and manipulation for display in print and on screen. With Adobe Photoshop and Illustrator at the center, we will explore the possibilities of creating imagined and composite landscapes that are feasible only through digital fabrication. As inspiration we will look at the ways that human intervention has transformed our physical world world through garden design, suburban sprawl, urban grids, mining sites, managed forests, zoos, constructed waterways and earthworks. In addition, we will survey a range of contemporary artists who are wrestling with the human impact on our biosphere. Coursework will foster a body of work consisting of on-line sketchbooks, site-specific installation, digital collage, gifs, large scale printing and laser cutting. These projects will emerge out of a series of exercises that will build image making skills and establish a digital workflow. Class size: 12

 

91985

ART 100 LO

 Cybergraphics: Digital

Lothar Osterburg

  W         10:10-1:10 pm

HDR 106

PA

PART

An introduction to digital image creation and manipulation for display in print and on screen. With Photoshop at the center, other programs of the Adobe Suite, primarily Illustrator and InDesign will be introduced. Individual final projects will emerge out of a series of exercises that will build image making skills and establish a digital workflow. Class size: 14

 

91982

ART 101 KB

 Painting I

Kenneth Buhler

 T           1:30-4:30 pm

FISHER 140

PA

PART

Instruction in this class emphasizes the acquisition of a basic visual vocabulary of painting while recognizing a wide range of individual interests and strengths among students. The students pursue assignments that focus their attention on issues such as value contrast, warm and cool contrast, creating tonality, understanding the expressive and structural possibilities of the materiality of paint, as well as how all of these elements factor in the composition of form and space. The projects are sequenced in a way that the students move from a simple dialogue of light and dark and gradually begin to incorporate a fuller range of elements from the vocabulary of painting during the semester. Assignments are designed to promote a recognition that expression in painting is rooted in its form – color, light, materiality, composition, etc. While much of the work will be done from observation - still life, landscape (weather permitting) and model - there will be assignments that incorporate abstraction as well. There are no prerequisites for this

studio class. Estimated cost of materials is $150-$200. *The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration. Class size: 14

 

91995

ART 101 KF

 Painting I

Kenji Fujita

   Th       1:30-4:30 pm

FISHER 140

PA

PART

Painting 1 is an introductory studio arts course. The class will focus on observational approaches to painting in which students will create different kinds of pictorial space using oil paint on a range of surfaces including canvas and paper. Students will work with basic ideas of line, shape, gesture, texture, value, composition and color. Class time will be spent on studio work and critique. Demonstrations of technique and presentations of relevant artwork drawn mainly from the 20th century (Morandi, Matisse, Van Gogh and others) will be used to shape the assignments. There are no prerequisites for the class, however all Painting 1 students must buy a material and supply kit ($200-225). Additional materials will be supplied by the art department.

*The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration. Class size: 14

 

91984

ART 101 MM

 Painting I

Medrie MacPhee

  W         10:10-1:10 pm

FISHER 140

PA

PART

For the artist drawing is discovery. A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. (John Berger). During class time we will primarily work from life and explore the tools that will aid in this discovery. Line, shape, value, gesture, perspective, volume, composition and space form essential drawing skills that create the basis for translating 3D into 2D. These developing skills also translate conceptually and imaginatively into discovering a voice of ones own. Homework projects will be both based on looking and imagining and employ a wide variety of drawing materials. Significant work outside of class and a willingness to participate in class critiques and discussions is a must.

*The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration. Class size: 14

 

91990

ART 105 ED

 Sculpture I

Ellen Driscoll

  W         1:30-4:30 pm

FISHER 138

PA

PART

This is a hands-on, introductory class that will introduce students to basic metal, wood, and other material fabrication techniques as vehicles for exploring the magic of scale in a sculptural vocabulary. The manipulation of scale is as essential to a sculptor as the range of musical notes on a piano are to a pianist. Working in a spectrum from miniature to the scale of architecture and landscape, students will make a series of sculptural projects that challenge and shift our perception of what is big, and what is small, what is at the center, and what is at the margin, in our physical environment. The sculptural work of the class will be complemented with a series of readings, powerpoint presentations, and discussions that investigate the manipulation of scale and perception by sculptors throughout history.  Class size: 14

 

91996

ART 105 ED2

 Sculpture I

Ellen Driscoll

   Th       1:30-4:30 pm

FISHER 138

PA

PART

This is a hands-on, introductory class that will introduce students to basic metal, wood, and other material fabrication techniques as vehicles for exploring the magic of scale in a sculptural vocabulary. The manipulation of scale is as essential to a sculptor as the range of musical notes on a piano are to a pianist. Working in a spectrum from miniature to the scale of architecture and landscape, students will make a series of sculptural projects that challenge and shift our perception of what is big, and what is small, what is at the center, and what is at the margin, in our physical environment. The sculptural work

of the class will be complemented with a series of readings, powerpoint presentations, and discussions that investigate the manipulation of scale and perception by sculptors throughout history. Class size: 14

 

91980

ART 105 JS

 Sculpture I

Julianne Swartz

 T           10:10-1:10 pm

FISHER 138

PA

PART

The definition of sculpture is always expanding to absorb new materials, media and strategies. It can include objects, actions, time-based media, sound and light. This course will introduce the language of contemporary sculpture through building objects and installations, looking at slides and videos, drawing, writing, verbal critique and discussion. We will explore how meaning is communicated through sculpture, using a variety of materials such as wood, fabric, clay, metal and found objects. Technical demonstrations will include woodworking, welding and mold making. Studies will also engage light, sound, space and time. Art history and contemporary theory will inform our discussion. The course is designed to develop fundamental art making skills as well as the ability to interpret visual art. Class size: 14

 

91989

ART 107

 Drawing I

Laura Battle

  W         1:30-4:30 pm

FISHER 140

PA

PART

Drawing is the most immediate and useful artistic practice for painters, sculptors, printmakers and those artists who are digitally inclined. It functions as both a tool for working out ideas and for the creation of unique works of art. This course is an introduction to drawing from perception using still life, the model and landscape. Fundamental properties of drawing including line, value, composition, space, positive and negative space, and light will be covered. No prerequisites. *The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration.   Class size: 14

 

91994

ART 107 JG

 Drawing I

Jeffrey Gibson

 T           10:10-1:10 pm

FISHER 149

PA

PART

The goal of this introductory course is to give students confidence and facility with basic technical and perceptual drawing skills and to further develop visual awareness. Focus will be on learning how to “see” in order to translate 3D objects into 2D media. Regular critiques will be held, in which the students develop a useful vocabulary aiding them to further discuss and think about their art practices. *The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration. Class size: 14

 

91986

ART 109 BG

 Printmaking I: Mark Making

Beka Goedde

  W         10:10-1:10 pm

FISHER 139

PA

PART

In this course we work with a set of printmaking practices in modes of relief and intaglio. Students will study the variations of their drawn and printed line, in order to develop and refine their drawing sensibility. We will develop our drawings into prints, build our printed marks on paper into collaged drawings and animation, and explore mark-making as an activity that happens while working and living. We seek to engage with printmaking as the means to create a visual language, expand our knowledge base of printmaking as a historical and contemporary mode of art making, and broaden our experiences working on and with paper. *The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration. Class size: 12

 

91976

ART 109 LO

 Printmaking I: Intaglio

Lothar Osterburg

M           1:30-4:30 pm

FISHER 139

PA

PART

Goal of this introductory class is to give students a solid foundation to the terminology and methods of intaglio (etching), from drypoint, etching and aquatint to wiping and printing. The class will consist of a large amount of technical instruction and demonstrations, complemented by the introduction of artistic methods. Original prints as well as reproductions will provide a historic background to printmaking and show how artists have used these techniques throughout the centuries. Artistic critiques will complement the technical aspect of the class. Please count on spending about $100.  on material and tools for the class. *The Fund for Visual Learning provides material support to students on financial aid to help them with art supplies. Eligible students may be considered for a non-major introductory grant up to but not exceeding $150 to cover wholly or partially the material supply kits for Level 1 Studio Arts classes. Sophomores, Juniors, and Seniors who have not previously received a non-major introductory grant may notify the professor that they would like to receive this financial support when registering for classes in the spring/fall, and First Year students can indicate their interest in support when registering on Super Advising days. Late interest will not be eligible for consideration. Class size: 12

 

91988

ART 150

 Extended Media I

Dave McKenzie

  W         1:30-4:30 pm

FISHER

PA

PART

The expansion of Art’s definition means that the terms used to categorize works of art are often technically incorrect—e.g. film used to categorize films not shot on the medium of film. These same terms point to the incredible proliferation of tools and techniques that are becoming readily available to large segments of the population. Through readings, critiques, and assignments we will explore artistic practices that have stretched previous categories while creating new categories—such as social practice, post-media, and postinternet art. Extended Media 1 will be grounded in art historical precedents, but students will be introduced to a number of recent technologies and working methods outside the traditional narratives of painting and sculpture. Assignments and instruction will explore various and varied forms of construction—from creative writing and performance to site interventions and virtual installations. Emphasis will be placed on the development of ideas and strengthening one’s ability to critique not only the work of art but also the

tools and techniques used to make it. Class size: 14

 

91977

ART 201 JS

 Painting II: The Figure

Joseph Santore

M           1:30-4:30 pm

FISHER 140

PA

PART

A continuation of Painting I, this course is designed for students who are serious about painting, especially painting from life. Students will be working with still lifes but the focus of the class will be on the figure, on color relations and how the sensation of color interacting across the plane can create light and space. The issues discussed in Painting I, mainly the language of color, value, temperature, contrast, saturation, intensity, etc. and strong structural relationships, will serve as building blocks for complex figurative compositions. We will be also working from reproductions as we study some of the great figurative masters. Students will be expected to be on time and have the proper equipment. This includes a good assortment of brushes, a proper palette and the required colors. Students will be working on gessoed paper over the first weeks but should know how to stretch and prime a canvas properly. Some of the poses will extend over two weeks, which will allow students to begin to push their work into new places. This class is for students who want to work hard and extend themselves. Students should have experience in drawing and must have had Painting I, there will be no exceptions. Class size: 14

 

91987

ART 202 KB

 Painting II: Painterly Print

Kenneth Buhler

  W         1:30-4:30 pm

UBS

PA

PART

A monotype (a.k.a. the painterly print) is essentially a printed painting. While it is technically the simplest form of printmaking, it is also the one that strives *to honor the individuality of the hand’s painterly impulse. For this reason, monotypes are a wonderful tool for a painter to quickly develop ideas of color, light, shape, and composition that are not only informative to the painting process, but are an end in themselves. This class will explore the process of the monotype in relation to painting using both traditional techniques and experimental ones that evolve in response to the pursuit of student’s individual ideas. While specific assignments will be given in class, independence in direction and motivation is essential. This course’s success depends

on the evolving dialogue between your visual ideas and the monotype process. This means that you must come to this course with visual ideas that you intend to develop, whether abstract or representational, or both. Painting 1 is the minimum requirement but it is highly recommended that you have had some experience with the pursuit of individual ideas in painting. Material needs will vary among individuals, but an array of oil painting materials and high quality paper will be required by all. Class size: 12

 

91978

ART 205 DD

 Sculpture II: Casting Workshop

Daniella Dooling

M           1:30-4:30 pm

FISHER 142

PA

PART

This course will focus on a variety of different casting methods and techniques. A wide range of materials will be explored. Students will learn to make one and two part rubber molds and will be encouraged to work from sculpted forms in addition to found objects. We will also explore various aspects of life casting using alginate as our starting material. As the semester progresses, the molds will become more complex and intricate. This course will include a field trip to the Tallix Foundry. Students should expect to spend a good deal of time working outside of class and be prepared to purchase additional materials throughout the semester as needed. Prerequisite: Sculpture I  Class size: 14

 

92183

ART 205 KF

 Sculpture II: between Painting & Sculpture

Kenji Fujita

  W         1:30-4:30 pm

FISHER 142

PA

PART

In this level two Studio Art class students will make artworks that speak to the language of both painting and sculpture. This hybrid approach will be hands-on and will involve 3-dimensional form making, painting and collage. Assignments will be formed around a 20th Century narrative that includes painted constructivist wall sculpture, cubist reliefs, assemblages, specific objects and sculptural props. Ideas explored will include sculpture that depicts pictorial space, the materiality of color and the site as ground for the sculptural figure. Class time will consist of working on projects, group critiques,

presentations, readings and discussions of relevant work as well as demonstrations in materials and techniques. Class will take place in the Fisher Studio Barn. Open to all qualified students. Class size: 14

 

91992

ART 206 LS

 sculpture II: Sculptural Ceramics

Lisa Sanditz

   Th       10:10-1:10 pm

UBS

PA

PART

This class is designed for serious art students who want to consider exploring clay as a material in their artistic practice. No prior experience with clay is necessary, however you must have taken a Sculpture I class. This course will cover the basics of ceramics concentrating on hand-building and the basic aspects of casting. Different clay bodies and glazes will be explored as well as firing temperatures and tools. Students will build ceramic objects as well as explore using clay with other materials and time-based disciplines such as performance or video. Class size: 14

 

91974

ART 207 JS

 Drawing II: The Figure

Joseph Santore

M           10:10-1:10 pm

FISHER 149

PA

PART

This is a figure drawing class but has nothing to do with academic solutions or tradition renderings. Students will be asked to put aside all preconceived ideas about drawing and to discard any technical solutions that they have acquired in the past. You will be working from perception and looking hard to try to uncover the structural bones of the subject matter. You will explore different ways of building spatial relationships and investigating the mystery of forms and the unidentified pockets of space that connect and surround them. We will discuss light and air, weight, gravity, speed and tensions while addressing problems of scale and the potential power and pressure of how mark-making possibilities by using different materials (charcoal, pencils, cut paper, black and white acrylic paint) to create harmony that resonates throughout the composition. Great drawings and paintings of the past will be looked at

and discussed and the importance of drawing through the ages considered. On occasion students will work from reproductions of master works. There will be assignments and critiques usually toward the end of the session. Class time is reserved for hard work. Class size: 14

 

91997

ART 207 LB

 Drawing II: Works on Paper

Laura Battle

   Th       1:30-4:30 pm

FISHER 149

PA

PART

Students will be introduced to a variety of art materials and will explore their use through a variety of prompts and directives. Each assignment will require a degree of self determination in terms of aesthetic terrain, whether from the imagination, from life, and/or from researching the unlimited world of images on-line. We will work large and small, and will explore alternative formats beyond conventionally proportioned rectangles. Drawing will be explored as an area for working out ideas and for the creation of more sustained, unique works of art. Prerequisites: Drawing 1, Painting 1 or by permission of instructor.

Class size: 14

 

91979

ART 209 LO

 Printmaking II: Experimental PRINTMAKING, “mULTIPLES”

Lothar Osterburg

 T           10:10-1:10 pm

FISHER 139

PA

PART

This class will question the traditional notion of printmaking as means to produce an edition and allow students to explore its boundaries and alternate purposes for using multiples. We will build on techniques learned in an introductory level or advanced printing class, and cover non-intaglio techniques such as large-scale woodblock and collograph, explore the use of the lasercutter and digital tools as well as open the process to drawing, painting and sculpture. The focus will be on the development and creation of projects that utilize printmaking as tool in the part of a larger process rather than just for the creation of a printed edition. The semester will start with a mix of technical exploration and theoretical assignments that cumulate in individual print based projects. Class size: 12

 

91993

ART 250

 Extended Media II

Dave McKenzie

   Th       10:10-1:10 pm

FISHER

PA

PART

This is an advanced class, meant to encourage individual projects, questions, and approaches. As such, it follows a workshop model, and we will be using the languages and attitudes of performance art as a general methodology. Students will be encouraged to propose and pursue self-generated assignments alongside the required class assignments. In class, we will explore movement based thinking alongside alternative strategies of object making in an effort to remain flexible and even uncomfortable. Special attention will be paid to work that incorporates time-based media, installation, writing, and digital technology. Group and individual critiques will lead students along a path to determining their own approach to the expanding field of art production, and at the end of the course students will have a greater understanding of how to shape their own vision and use their own voice. Prerequisites: Permission of the instructor. Class size: 14

 

91975

ART 301 LS

 Painting III: THE Mural

Lisa Sanditz

M           10:10-1:10 pm

UBS

PA

PART

Large-scale studio painting, political banners and mural painting will be investigated in this class. We will go through the mural making process from idea to execution, making scale drawings, discussing budgets and considering site specificity. Acrylic, oil and spray paint, can be used depending on the students preference and the project. Students will work on self-directed and collaborative projects, in the studio and on location. Painting experience required. Materials $150+. Class size: 12

 

92000

ART 305 JP

 Sculpture III: Installation

Judy Pfaff

    F        10:00-4:00 pm

UBS

PA

PART

This is an advanced sculpture class open to qualified students only. The defining characteristic is the freedom and space that each student is given to explore their ideas and go beyond personal limits and preconceptions. All media and methods are welcome as long as they are accompanied by a consideration of the specific spaces of UBS. This class requires a MAJOR devotion of time and energy. Students are treated as working artists and are expected to completely install three site-specific projects of their own inspiration. Critique of the ideas and execution will accompany each project followed by a thorough de-installation of the work. Open to ambitious, self-guided students awaiting a challenge. It is an all day class, from 10-2 and then a two hour "lab" for demonstrations in welding, woodworking, electrical wiring and other processes. Class size: 14

 

91981

ART 307 MM

 Drawing III: DRAWN AND QUARTERED

Medrie MacPhee

 T           1:30-4:30 pm

FISHER 149

 

PART

This course is designed to explore the multifaceted nature of drawing, examining through practice the formal, conceptual, expressive and narrative potential of the medium. The course will take students through a broad range of what might constitute a drawing through a series of projects. Through the projects, a diversity of options will be explored both in terms of material means (charcoal, pencil, pastel, ink, watercolor etc.) as well as their application to: image and abstraction, a single drawing versus a series, color versus black and white, language as image etc. Imagination and experimentation will be encouraged as well as a deepening understanding of how these different drawing options affect the meaning of what is being looked at. Class discussions and critiques will focus on the transformation of the creative impulse into concept and concept into visual realization. The goal is to gain an ability for independant and self-directed work by the end of the semester. Students should have taken Drawing 2 and/or Painting 2, but will be admitted on a case-by-case basis. Class size: 12

 

91983

ART 405

 Senior Seminar

Daniella Dooling

 T           5:00-7:00 pm

FISHER

 

 

Senior Seminar is a component of the senior project and is an integral part of the 8 credits earned for Senior Project. The Seminar focuses on the development of the student as a thinking and working artist. This is accomplished through variety of approaches. Presentations are made by visiting artists and Studio Arts faculty who discuss their life and work. Students develop a series of projects designed to aid them in recognizing, conceptualizing, and articulating their particular artistic interests. Presentations by alumni from the Bard studio arts program provide a glimpse into the future; and, workshops on the photographing of art and website development help the student prepare for life after Bard. Exhibitions in the fall semester will draw students out of their studios well before the presentation of their senior show. Required studio visits from faculty members other than the project advisor insure fresh

and varied responses to the ongoing senior project. The Senior Project Exhibition is the culmination of the Senior year and is evaluated before a faculty review board and a Senior Seminar critique. *Any student registered in Studio Art Senior Project or any student of another discipline who has been granted studio space in either the Fisher Studio Art Center or the U.B.S. Exhibition Center in Red Hook will be required to register and participate in all aspects of Senior Seminar. Class size: 20