Students interested in taking a Studio Arts course must meet the faculty member in his/her office between 9:00 am - 10:30 am on Registration Day for a pre-registration interview.

An exploration of visual language through the making and study of images - photographic, drawn, printed, painted, and modeled in three dimensions. The course is open to all students and is a requirement for all prospective art majors. There is no requirement of ability or prior knowledge or experience, only a serious commitment to discovering the resources of visual art, its practice and history.

See description above.

See description above.

See description above.

Artists, including Dürer, DaVinci, Delacroix, Cezanne and Hopper have kept journals for centuries in which we can see how personal notes, fragments of reportage, sketches and personal musings eventually evolved into fully realized art works. In this course we will fill journals with our impressions, visual and literary, of visits to various sites in the Hudson Valley, natural and man-made. These will be the basis of large scale drawings made in the studio, sometimes collaboratively, sometimes solo. There will be much attention to instruction in basic drawing, including drawing from the figure. Students will be encouraged to make their journals as personal as possible through the use of collage, photography, video, and audio recording.

An introduction to graphic creation using the computer as a compositional tool; basic computer skills are required and minimal ability in Photoshop or a comparable application is recommended. The imaging potential of a variety of graphic applications will be discussed and demonstrated during the first half of the class. The second half will focus on individual projects with an emphasis on printing.

This course is open to students with or without experience in the silkscreening process as all aspects of the process will be explored. We will begin with the basics of silkscreen printing and build up to incorporate different techniques of silkscreening. Students will learn how to build their own screen, mix inks and prepare images for printing. The first three weeks will be spent developing each technique and understanding the different printing principals involved as well as getting accustomed to the entire process. There will be lectures and demonstrations, and the last weeks will focus on incorporating all techniques to create one final image and edition of prints. Students will work through issues of composition, design and color theory. Limited to 12 students

Through lectures, demonstrations, exercises, and assigned projects, students will experience and explore color mixing and handling as well as different attitudes towards art and painting. There will be a review of various composition/color organization principles as they relate to painting. Work will be done on a variety of supports including canvas, wood, and paper. Assignments will cover projects dealing with observation and various aspects of abstraction.

See description above.

A practical and systematic study of the generation of volume, from drawing, through linear and planar construction (wood, glue gun) into (clay) modeling and (plaster) casting and carving. We will work on the realization of such concepts as solid and void (space); mass and gravity' axis (direction) and movement; compression and expansion; working in clay and plaster, with the complementary study from art and nature.

This class will focus on hands-on experience using different materials to create 2-D and 3-D art works. The semester will be divided into three projects that are due at the end of every three weeks. Each new project will begin with a series of drawings and samples of materials to be used. Students are encouraged to be experimental with their combinations and use of found materials. Students are asked to make a list of ten different materials to use to create a work and to group them into sets of three with one material being used on all. The materials should have different properties and the work should be placed within an invented context or site specific space. A written description accompanies the work on how these principals (weight/space/texture/size/density/ color/ structure/form/impact) are incorporated into the artwork.

In this course we will explore various aspects of three dimensional art making: linear and planar constructions with wood and other materials, clay modeling, plaster casting and assemblages with found objects. We will draw from various sources, such as the history of art (Surrealism, Abstraction and Contemporary Art), the study of nature, and the imagination.

This course is designed to present the basic concepts of drawing. The student explores problems related to perceiving forms in light, perspective, handling space through hand-eye coordination, and drawing as a visual thought process.

See description above.

See description above.

This is the entry-level printmaking course, the prerequisite for all other printmaking classes in the art department. Its goal is to have students begin to use the tools and the materials of the printmaker as means for the development of personal imagery and self-expression through the serial progression the medium offers. Students will explore woodcutting, collotype, and learn how to conceive of and register plates for color printing. Students will learn to identify the various print media. The history of prints and archival methods will be discussed and there will be a field trip to a print cabinet to examine master prints.

In this course we will explore alternatives to the traditional single rectangle as a painting format. Multi-paneled paintings (such as dyptychs), shaped paintings, site specific wall paintings, as well as two-dimensional wall installations each pose different issues to consider, positing the image in relation to what exists beyond its edges. Simple methods for building shaped paintings will be taught as well as mural/fresco techniques. Prerequisites include two painting courses and/or demonstrated maturity and direction as a painter. By permission of instructor.

This studio course will extend the perceptual articulation learned in Painting I. Observation of various natural subjects will continue with more ambitious painting as well as the beginning of abstract and simplification of the various subjects. Different technical and expressive approaches will be encouraged and explored. Outside of class work will relate to the current class problem. A minimum of three hours per week will be required of the serious student. Drawing II is recommended to accompany this course.

Oxygen acetylene and mig welding techniques will be explored and paired with concepts of structure. Class limited to 6 students.

Prerequisite: Foundations and Sculpture I.

The first half of the semester will engage the drawn relation of the students fixed position to the space of landscape, proceeding with the establishment of the ground plane and the location of the interrelationships of the base of the objects in the field of vision before the embellishment of the object with mark, tone, and textural interpretation. The second half of the semester, concern with mass, will involve various internal and external marking systems that will interpret the presence of the body with individually chosen concepts that focus on particular aspects of the specific pose and the visual communications of these drawn priorities. Weekly outside of class assignments will follow the in-class instruction throughout the semester. The semester's work will be reviewed during the last week of the semester. This review will consist of at least twelve drawings from each of the two sections including outside assignments; a total of twenty-five drawings. Material for the class will include soft charcoal, soft lead, newsprint and white bond paper. Higher grade paper and different marking materials to be encouraged on an individual basis, by instructor.

Intended for the sophomore/junior level. This will be an exploration of materials ranging from traditional drawing media to collage, transfers, and low-tech printmaking. In addition, students will develop a large body of related work drawn from a single subject. We will not work perceptually, but instead will work from memory, dreams, and texts. Students will be expected at the outset to purchase a ream of good quality paper (100 sheets) as well as a range of art materials.

Prerequisites: Drawing I or Printmaking.

Students who have taken Printmaking I will further their experience and knowledge of the printmaking process through the etching process and multi color/plate techniques.

Enrollment limited to 12 students.

Open to 200+ level students with backgrounds in studio arts. Students in other art fields, philosophy, anthropology, etc. are welcome to apply. The course will focus on the use of photography as a material or tool in artmaking. The emphasis will be on students developing ideas and using simple and direct photographic means to express them. Students will make a

body of work with snapshots, slides, laser xerox, polaroids, photocollage and other basic photographic forms. There will be slide presentations and discussion on the use of photography in the work of artists such as Andy Warhol, Vija Celmins, Gerhard Richter, Kiki Smith, Anselm Kiefer, Sigmar Polke, Hannah Hoch, Ed Ruscha, David Wojnarowicz, Susan Hiller and many others. There will be visits to New York City galleries and museums to look at and consider the prevalence of photographic based work in contemporary art practice. The course does not involve darkroom instruction and facilities will only be available on a limited basis to students who have prior experience.

This course employs 3-D modeling programs for the development of hypothetical structures and environments. Through mid-term the class will include instruction in the use of basic and advanced 3-D applications. The second half of the class focuses on creation of digital structures and their image placement in real or virtual environments.

An advanced level sculpture course dealing with all aspects of construction in a wide variety of materials, especially metals and plastics: actual and illusioned movement, the dynamics of scale in relation to the body, light as transparency and reflection, the communication of energy through the articulation of space. Open to 8 technically qualified students.

This course will meet every other week, alternately on campus, and in New York City at Professor Murray's studio.

Limited to 6 - 8 students by permission of instructor.

In this painting course, work and discussion will be at the advanced level. Much of the work will be independent with in-class critiques.

Prerequisite: Painting I & II

All studio art majors must take three graduated and required seminars (Sophomore, Junior, Senior) aimed at creating a sense of community within the program and at supplementing studio courses by addressing issues and concerns of the visual artist. Each seminar is one credit.

The format of this seminar is conversation about readings, slide talks, visiting artists, your own work, and an end-of-the-semester project. You will be asked to give your opinion often. Topics are diverse and questions are constant. For instance: What do you think makes certain art "Modern Art"? Can you explain Duchamp, Mondrian, and Warhol? Do you know what Apollonian and/or Dionysian artwork might be? Do you know what kitsch is? Do you know whether your work has postmodern tendencies? Can you name 30 women artists? Is suffering necessary in order to make good art, and if so, what constitutes suffering? Does art have to be personal? If it's personal how can it be universal? Is anything universal? Who is your audience? What are you doing? Why?

All studio art majors (and interested photography majors) who are engaged in the Senior Project will meet for a weekly seminar/critique/discussion. The aim of the meeting will be to create a forum for the continual exchange of views and ideas among the senior students and to encourage and develop skill in articulating ideas in speech and writing. Its form and subject will change week to week, but will include writing assignments (toward "Work & Image" catalogue); group critiques and discussion of student work; discussion of exhibitions on campus; discussion with guest speakers. All studio art seniors must participate.

The workshop will meet Mondays beginning 9/11/00 through 11/20/00.