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 photogravure@earthlink.net

 

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.