Please Note: There is a $150.00
Studio Art Department Lab Fee each semester for any student taking one or more
studio art classes and/or seminars. This fee is applied to all Studio Art
Department 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 16, 2009, 5 PM or they will be responsible for the $150.00 Department
Lab Fee.
99307 |
ART 100
HT Cybergraphics |
Hap Tivey |
. . W . . |
9:30 - 12:30 pm |
HDR 106 |
PART |
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.
99306 |
ART 101LS Painting I |
Lisa Sanditz |
. . W . . |
9:30 - 12:30 pm |
FISHER 140 |
PART |
For students who have had virtually no experience
with painting or need a brush-up.
Lectures, demonstrations, exercises and assigned projects will provide
students with a basis in the fundamentals of painting. Exploring color mixing and paint handling
combined with an ongoing review of various compositions/color organizing
principles as they relate to painting will be the methodology of the
class. Work will be done on a variety
of supports including wood, canvas and paper.
Assignments will cover projects that deal both with observation and
various aspects of abstraction.
99300 |
ART 101 Painting I |
|
. T . . . |
9:00 - 12:00 pm |
FISHER 140 |
PART |
This
is the entry level painting course which is intended to introduce you to color
theory, using color to express mass and form in light, composition, drawing and
to the capacity to set expressive goals for yourself and to pursue them in an
ordered and self critical way. There
will also be discussions of the work of masters of the tradition in order that
young painters begin to find a place for themselves relative to that
tradition. The primary media used will
be oil paint, alkyd oil, or acrylic on board, paper and canvas. A class will be devoted to teaching you how
to use the tools in the woodworking shop to build your own canvas stretchers
and every effort will be made to provide the student with the craft and as well
as conceptual information necessary to continue into Painting II.
99308 |
ART 106
AG Sculpture I |
Arthur Gibbons |
. . W . . |
1:00 -4:00 pm |
FISHER 142 |
PART |
The chair is ever present. It describes the human form and spirit. In
this sculpture studio we will focus on the chair not only as a functional
object but also as a sculptural thing. Basic skills in drawing, digital
photography, clay modeling, plaster casting, wood carving/construction and
metalworking will be taught and employed in the making of objects/things that
could be chairs.
99297 |
ART 106
JS Sculpture I |
Julianne Swartz |
M . . . . |
1:00 -4:00 pm |
FISHER 138 |
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.
99313 |
ART 106
KL Sculpture I |
Ken Landauer |
. . . Th . |
9:00 - 12:00 pm |
FISHER 138 |
PART |
Contemporary sculpture is
a broad, ever-changing practice. This
class will introduce core ideas and practices, and will branch out into less
traditional territories. We will study
the basic history of sculpture through slides, emphasizing art made in the last
40 years. The class will introduce some
conventional sculpture-making practices - such as woodworking metalworking, and
casting – and we will also study installation and some alternative forms. We will explore ways to give life to your
ideas through physical forms, and also how materials and existing objects can
generate unexpected ideas. Readings and
class discussions will ground and inspire these explorations.
99294 |
ART 107 Basic Drawing I |
|
M . . . . |
9:30 - 12:30 pm |
FISHER 149 |
PART |
Drawing is the basis of visual intelligence. It enables us to envision and manipulate
masses in space as light reveals them.
It is central to the foundation of all visual art. This course will be based on perception,
drawing from objects, the human figure, masterworks and interior and exterior
spaces. Students will learn to critique
each other’s work orally and in written form, some drawings will be made
collaboratively and we will explore making drawings that are very small and
mural sized. The work of draughtsman
from the history of art will be analyzed and substantial work outside of class
will be expected each week. Students
will be graded on their individual progress and improvement.
99299 |
ART 107
DD Basic Drawing I |
Daniella Dooling |
. T . . . |
9:00 - 12:00 pm |
FISHER 149 |
PART |
Leondardo da Vinci said, “to learn to draw is to
learn to see.” The emphasis of this
course will be the study of drawing as a tool for articulating what the eyes,
hand, and mind discover and investigate when coordinated. During class time, we will primarily work
from life and forms from nature in order to give students fundamental and
essential drawing skills. Line, shape, value, gesture, perspective, volume,
composition and space form the basis for translating from 3D to 2D, and these
will each be covered through weekly homework assignments. A wide range of
drawing materials will be introduced.
Students will be expected to spend at least six hours drawing outside of
class, maintain an individual sketchbook, and participate fully in group
critiques.
99886 |
ART 109
NL Printmaking I |
Nicola Lopez |
M . . . . |
1:00 -4:00 pm |
FISHER 139 |
PART |
This class is designed to introduce students to the
widely varied possibilities that are presented by the medium of
printmaking. Through hands-on studio assignments, student will learn the
techniques involved in Intaglio (etching), Relief (woodcut) and
Monoprint. Although the primary focus of the class will be on learning
technical skills, we will also discuss issues of formal composition, choice of
imagery and thematic content through conversations and critiques in class and
through presentations made by both students and the professor.
99315 |
ART 109
LO Printmaking I “Introduction
to Intaglio (Etching)” |
Lothar Osterburg |
. . . Th . |
1:30 -4:30 pm |
FISHER 139 |
PART |
This class gives an in depth introduction to all
basic as well as some advanced processes of intaglio, from drypoint to etching
and aquatint to wiping and printing. We will also look at classic and
contemporary use of intaglio by artists. Students will apply the learned skills
on projects of their own choosing.
Basic knowledge of visual language and drawing skills are required. Students must have had at least one prior art class at Bard, or show a portfolio prior to registration. Priority will be given to art majors. Expected material cost for this class is at least $100.
99302 |
ART 112
KB Colorama |
Andrew Mockler |
. T . . . |
1:30 -4:30 pm |
FISHER 141 |
PART |
The investigation of the
exquisite potential of color is the focus of this class. Color influences all aspects of our
experience - perceptual, emotional, psychological, physiological, even
spiritual. Students will gain
experience learning to see, understand, and utilize all the possibilities of
color. The goal is to develop a working
knowledge of color as it may be applied to any visual medium. The nature of assignments will range from
vigorous color studies to train the eye, to forms of expression more personal
and expressive in nature.
99301 |
ART 200
HT Cybergraphics II: Graphic Novel: Graphics & Text |
Hap Tivey |
. T . . . |
9:00 - 12:00 pm |
HDR 106 |
PART |
This class will address the theory, tools and
techniques employed in the digital creation of graphic/text artwork. The
class will focus primarily on printed images, alone, and in sequence with
the graphic novel as a principal arena of expression. The class will
explore theories of how realism, iconography, and cartoon
illustration intersect text as an art form. Using computer software and
digital printers we will examine various approaches to creating
image/text combinations in the traditions of graphic novels, manga,
and contemporary painting. The most important software will be
Photoshop and students must have a basic understanding of that
package. Software instruction will include more complex strategies
in Photoshop as well as introductions to Illustrator, Manga Studio, and
Zax Animator.
99295 |
ART 201
JS Painting II |
Joseph Santore |
M . . . . |
1:00 -4:00 pm |
FISHER 140 |
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.
99309 |
ART 206 KL Sculpture II: Public
Art: Provocations and Possibilities |
Ken Landauer |
. . W . . |
1:00 – 4:00 pm |
FISHER 165 |
PART |
Public art continues to open new, dynamic
dimensions for art. This class will explore engaged
public artwork (as opposed to civic monuments or big sculptures plopped in
courtyards). The class will focus on artists that challenge conventions with
unexpected moves. We will examine the strategies they use to absorb viewers,
from novel materials and scale shifts to provocation and disorientation. We will study the interplay between routine
daily experience, and the more resonant experience of art. We will dive into
the heated conversation stimulated by public work through readings, slide
shows, writing, individual artworks and collaborative projects. We will seek to
create vigorous dialogue and memorable experiences. This class will transform
how you make and see art, both inside and outside the gallery. Students should be sufficiently skilled in
media suited to create several projects in the public realm.
99296 |
ART 206
DD Sculpture II |
Daniella Dooling |
M . . . . |
1:00 -4:00 pm |
FISHER 142 |
PART |
This course will focus on how an artist’s process
and the qualities inherent in specific materials combine to create works of
art. Through a series of projects, we
will investigate, among other things, the history of Dada, the Duchampian
readymade, installation art, and the Process art movement of the late 60s in
relationship to contemporary art practice. In addition, we will explore notions
of collecting and archiving, communal and recycled materials, collaborative
installation, and performance as process.
As part of the course, each student will prepare and present a
“teach-in” for the rest of the class.
How do these conceptual strategies feed into the practice of art making
in 2009?
99293 |
ART 207
JS Drawing II |
Joseph Santore |
M . . . . |
9:30 - 12:30 pm |
FISHER 140 |
PART |
The focus of this class will be on the figure. Students will be working directly from life
using models. The emphasis will be on
structure and the interaction between figures and the spaces that they occupy. Students will be examining spatial
relationships, composition, scale and geometric structures. Students will be using different materials
(charcoal, pencils, cut paper, ink, etc.) while attempting to experience a wide
range of mark making possibilities.
They will explore different ways of making form by utilizing light,
space and air while also addressing the problems of scale and investigating the
potential power and pressure of how marks move across the picture plane. As the semester goes on students will be
encouraged to focus in on the figure and become more specific. Students will be encouraged to keep
sketchbooks and there will be work assigned out of class.
99310 |
ART 207
KB Drawing II: Drawing from
Nature |
Kenneth Buhler |
. . W . . |
1:00 -4:00 pm |
FISHER 140 |
PART |
The term “drawing from
nature” here is used both literally and figuratively. For centuries,
artists have turned to Nature as a source of inspiration in their pursuit of
imagery. In addition to direct perception by the naked eye, this course
allows the student to draw upon a wide variety of resources, some more often
relegated to science or math (microscopes, computers, etc.), as a
means of gathering visual information about basic structures in nature,
growth patterns, and other phenomena less than immediately apparent to the
eye. This class focuses on the gathering of visual data,
impressions, and inspiration from nature and then adopting it for continued
exploration in individual drawing projects. A wide variety of
drawing tools may be employed. Drawing I, the love of natural forms, patience,
and an inquisitive nature are required.
99303 |
ART 301
NE Painting III |
Nicole Eisenman |
. T . . . |
1:30 -4:30 pm |
FISHER 140 |
PART |
For students who have
labored long and productively in Painting I and II and are ready to work
independently on projects of their own choosing. The class will be demanding, with the expectation that the
students will vigorously pursue their painting interests and present their work
in ongoing class critiques as well as do research and participate in all class
activities. Non-majors are accepted by
permission of the instructor. For the
first class bring a painting and be prepared to discuss what the work of the
semester will focus on.
99586 |
ART 304
HT Light |
Hap Tivey |
. . W . . |
6:30 -8:30 pm |
FISHER 162 |
PART |
This course examines
light as a medium in the production of artwork. The class will look at
traditions of using light as volumes in space, as projections, as subject
matter and as sculptural sources. We will examine techniques for
generating luminous structures with conventional hardware, film, video, fire
and theatrical sources. The works of Flavin, Turrel, Boltansky,
Richter, Paik and Viola will figure prominently in our approach, but we will
also explore ancillary contributions by a wide variety of artists working across
several fields. Students will be required to work individually and on
cooperative projects. Although the class will officially meet in
Fisher 162, we will use a variety of spaces around the campus and work on
projects in the field that may require travel times other than class
hours.
99314 |
ART 305
JP Sculpture III |
Judy Pfaff |
. . . Th . |
9:00 - 12:00 pm |
FISHER |
PART |
An advanced level
sculpture course taking place in the Red Hook Exhibition Center and dealing
with all aspects of construction in a wide variety of materials, especially
metals and plastics: actual and illusionary movement, the dynamics of scale in
relation to the body, light as transparency and reflection, and the
communication of energy through the articulation of space. Open to 8
technically qualified students.
99316 |
ART 310
LO Printmaking III:Photogravure |
Lothar Osterburg |
. . . . F |
10:30 – 4:00 pm |
FISHER 139 |
PART |
This class will give an introduction to the 19th
century process of the copperplate photogravure. Photogravure is a truly
continuous tone photographic intaglio process with a rich tonal range. The
image is created by etching a copper plate through a photographically hardened
gelatin into varying depths according to the image tonality, with an aquatint
to hold the ink. Printed as an etching, photogravure bridges the gap between
photography and printmaking. As with
any other technically complex process it can be expected that not all results
are acceptable. Students will learn to work back into their failed plates to
achieve a satisfactory end result, will be introduced to the historic
significance and contemporary application of this process.
This
will be a demanding class in material, expenses and time dedication. Even
though the class is scheduled to end at 4pm, it frequently may go over time.
Expect to spend between $300,- and $400.- in material. Prerequisites: PERMISSION BY INSTRUCTOR ONLY! E-mail Prof. Osterburg ahead of the
registration period at [email protected]
99304 |
ART 405 Senior Seminar |
Ken Buhler |
. T . . . |
5:00 -7:00 pm |
FISHER 165 |
|
Senior Seminar is a component of the senior project
and is an integral part of the 8 credits earned for Senior Project. The Seminar will focus on Studio Arts
faculty and visiting artists presenting their life and work. Exhibitions in the fall semester will draw
students out of their studios well before the presentation of their senior
show. Visits from alumni and the
Director of Career Development, will provide a glimpse into the future. The Senior Project Exhibition is the
culmination of the Senior year and is evaluated before a faculty review board
and a Senior Seminar critique. Readings
and a writing workshop will be assigned and scheduled. *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.