STUDIO ARTS

Please Note: There is a $150.00 Studio Art Department 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 12, 2010, 5 PM or they will be charged and responsible for the $150.00 Department Fee.

91008

ART 100 HT Cybergraphics I

Hap Tivey

. . W . .

10:10 -1:10 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. 

91041

ART 101 AM Painting I: Color Theory

Andrew Mockler

. . . . F

10:10 -1:10 pm

FISHER 140

PART

Color moves us and impacts every aspect of our lives, from the beauty of nature to the objects of our manmade environment. In this course, the language of color in visual art will be the center of our inquiry. Students will become familiar with different color theories, and gain a better understanding of how color operates as a system. Experimenting with materials -colored papers, paint, watercolor, and objects- students will develop a set of skills that can be used in any art practice.  The course will include studies to build a sensitivity to color relationships as well as assignments that explore more personal expression.

91806

ART 101 MM Painting I

Medrie MacPhee

. . W . .

10:10 -1:10 pm

FISHER

PART

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.

91051

ART 101 LS Painting I

Lisa Sanditz

. . . Th .

10:10 -1:10 pm

FISHER

PART

For students who have had virtually no experience with painting or need a brush-up.  Lectures, demonstrations, critiques, exercises and assigned projects will provide students with a basis in the fundamentals of painting.  Focusing on color mixing, color theory, volume, composition and different approaches to paint application will culminate in increasingly complex approaches to image making as the semester progresses. Lectures and discussions of artists and movements current and historical will be presented in an effort to contextualize your own work and style within a historical continuum of art making.  Work will be done primarily using oil paint and mediums on a variety of supports including wood, canvas and paper.  The class will focus on observational painting, but also include painting from other source material and from your imagination.  

91046

ART 106 AG Sculpture I

Arthur Gibbons

. . W . .

1:30 -4:30 pm

FISHER

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.

91033

ART 106 JS Sculpture I

Julianne Swartz

M . . . .

1:30 -4:30 pm

FISHER

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. 

91379

ART 106 KF Sculpture I

Kenji Fujita

. . . . F

10:10 -1:10 pm

FISHER 138

PART

It can be as small as something you hold in your hands or as large as something you walk through. In this class students will be introduced to ideas and practices that are specific to modern and contemporary sculpture. Using different processes and techniques, we will explore the various ways that simple materials can be used to make sculpture, from constructing and sewing to casting and welding. We will work with materials from a variety of sources: the art supply store, the building materials center and the 99-cent shop. Class time will consist of in-class studio work which will include demonstrations in mold making, light carpentry, welding and sewing.  Group critiques will be supplemented by readings and presentations of relevant contemporary art. The class will be assigned around five projects along with related exercises over the semester.

91035

ART 106 KL Sculpture I

Kristin Lucas

. . W . .

10:10 -1:10 pm

FISHER

PART

In this studio art course students will be introduced to ideas and practices of contemporary sculpture. As a genre, sculpture continues to absorb new techniques and materials not limited to objects, actions, time-based media, photography, breathing, thinking, even paint! Using different processes and techniques, students will explore the various ways that materials can be transformed into sculpture, from constructing and carving to casting and welding. Students will work with materials from a variety of sources: the art supply store, the building materials center, garage sales and the 99-cent store. Class time will consist of in-class studio work and demonstrations, group critiques and presentations of relevant contemporary art and readings. 

91052

ART 107 KF Drawing I

Kenji Fujita

. . . Th .

3:10 -6:10 pm

FISHER

PART

Doodles, preparatory sketches, studies, fully rendered drawings. This course will introduce students to drawing as a practice that encompasses a range of mediums, techniques, processes and approaches. The emphasis will be on both traditional and experimental aspects of drawing. Students will work inside and outside of class on assignments that deal with form, space, gesture, mark, line and image with the goal being the development of work that draws on both observation and the imagination. Class time will be used to both work on in-class projects (drawing from the still life and the model as well as other activities) as well as to critique finished work. Demonstrations in materials and techniques will be given along with readings and presentations of artists whose work is related to themes addressed in the course.

91039

ART 107 MM Drawing I

Medrie MacPhee

. T . . .

1:30 -4:30 pm

FISHER

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. 

91030

ART 109 Printmaking I: Introduction to Intaglio (Etching)

Lothar Osterburg

M . . . .

10:10 -1:10 pm

FISHER

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.

91049

ART 200 HT Cybergraphics II: Graphic Novel, Graphics and Text

Hap Tivey

. . . Th .

10:10 -1:10 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.

91031

ART 201 JS Painting II:Figure Painting

Joseph Santore

M . . . .

1:30 -4:30 pm

FISHER

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.

91034

ART 201 LB Painting II: Abstraction

Laura Battle

. T . . .

10:10 -1:10 pm

FISHER

PART

The Latin word abstrahere from which the word abstract is taken means to draw from, to remove, to separate. Catherine de Zegher writes that inherent to these definitions in art is the notion that preceding the abstraction is something from which the form has been drawn. This implies not only reference to something in the concrete world, but the formation of an idea apart from any perceivable object, understood as thought itself. In this course, students will explore both extracting from things in the real world as well as from the imagined one. Additionally, students will work to understand color theory, as well as the proper use of materials and techniques. Prerequisites are Painting 1, and a drawing class as well. Students will be expected to build and stretch large canvases and to come equipped on a weekly basis with required materials, thus should budget accordingly.

91032

ART 206 DD Sculpture II: Casting Workshop

Daniella Dooling

M . . . .

1:30 -4:30 pm

FISHER

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

91054

ART 206 KL Sculpture II: Let’s Get Physical

Kristin Lucas

. T . . .

1:30 -4:30 pm

HDR 106

PART

Digital tools have added an expansion pack to the artists' toolbox. They enable us to refine, modify, and save multiple versions of our work, backup, store, and distribute over a global network, seemingly effortlessly. What does it mean to bring computer-aided design into the physical world? How do artists think and work differently in digital space with access to precision tools, magic wands and history brushes, than they do in physical space with finite tools and materials that have properties of weight, gravity, viscosity, and permanence? This course aims to bring digital tools into dialog with physical materials and processes. Students will carry out experiments with a laser cutter––a hybrid tool that reads digital files and programs a laser to precision cut or etch into a wide range of concrete materials. The challenge will be to integrate laser cut forms, templates and etchings with traditional art-making processes. Class time will be divided between tutorials, in-class experimentation, discussion of readings, and critique of individual projects.

91036

ART 207 DD Drawing II: Drawing as Process

Daniella Dooling

. T . . .

10:10 -1:10 pm

FISHER

PART

While building on the techniques and methods learned in Drawing I, Drawing as Process will also investigate concepts and methods of process. Inherent in this investigation are a variety of traditional and non-traditional uses of materials and techniques. Through a series of weekly projects, we will study, among other things, the Process Art movement of the late 60s in relationship to contemporary art practice. As the semester progresses, we will explore process through duration, repetition, performance, and the body as a means of production. In addition to regular drawing materials, students should expect to purchase a variety of good quality paper as needed throughout the semester. Prerequisite: Drawing I.

91029

ART 207 JS Drawing II: The Figure

Joseph Santore

M . . . .

10:10 -1:10 pm

FISHER

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.

91047

ART 207 LB Drawing II: Mixed Media

Laura Battle

. . W . .

1:30 -4:30 pm

FISHER

PART

Intended for the sophomore/junior level, this course will be an exploration of drawing materials ranging from traditional drawing media to collage and transfers.  We will not work perceptually, rather will work from memory, dreams, and texts, with open ended assignments intended to challenge each student to expand their visual, conceptual and material vocabularies. Color theory will be examined and emphasized.  Students will be expected to purchase good quality paper and a range of materials, so should bear in mind the cost. Prerequisite: Drawing I

91037

ART 209 NL Printmaking II: Woodcut

Nicola Lopez

. . . . F

10:10 -1:10 pm

FISHER 139

PART

This course will introduce students to a variety of different relief printmaking techniques, focusing primarily on woodcut.  Through a series of hands-on projects you will build your technical skills in the medium and explore ways of expanding on the ‘basic’ print by using multiple blocks, large block and modular prints, as well as discussing the use of alternative printing materials.  You will be expected to bring your own artistic goals and vision to each project and to use each assignment as an opportunity to challenge yourself conceptually and visually as well as technically.

91044

ART 301 KB Painting III: Re-Visioning Painted History

Ken Buhler

. . W . .

10:10 -1:10 pm

FISHER

PART

This class allows each student to pursue a deep exploration of specific chosen paintings from the history of art that have personally stimulated

their passion and admiration.  This investigation is not intended to be a form of copying, but rather a way of comprehensively focusing on particular issues of form or concept that are present in the individually chosen paintings.  The process of analysis, de-construction, reconstruction, variation, improvisation, etc will result in the creation of a series of new paintings for each work of art selected by the student. It is understood that the paintings that a student chooses will be a reflection of their own painting interests.   Picasso offers one model of the possibilities of this type of pursuit in his seemingly endless variations on  Velasquez's "Las Meninas"  and  Manet's "Le déjeuner sur l'herbe".   Students will be expected to arrive to class in the fall with specific intentions in place regarding paintings they wish to pursue.  Material requirements will be in response to the need of each particular exploration, but students will be expected to acquire materials and surfaces to work on as needed.

91048

ART 304 HT Light

Hap Tivey

. . W . .

6:30 -9:30 pm

FISHER

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.

91050

ART 305 JP Sculpture III

Judy Pfaff

. . . Th .

10:10 -1:10 pm

FISHER

PART

An advanced level sculpture course taking place in the Red Hook, Bard 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.

91038

ART 307 Drawing III

Lisa Sigal

. T . . .

1:30 -4:30 pm

FISHER

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 the 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 in terms of media uses, image versus abstraction, a single drawing versus a series, large versus small, color versus black and white 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 students will gain an ability for independant and self-directed work by the end of the semester.

91040

ART 310 LO Printmaking III: The Artist’s Book

Lothar Osterburg

. T . . .

1:30 -4:30 pm

FISHER

PART

The class will explore the book as an art object, with an emphasis on the structure of the book. Both traditional and non traditional book forms and materials will be explored. For the creation of content – imagery and text – one part of the class will focus on the use of traditional handmade platemaking processes: intaglio, letterpress, woodblock and screen printing, while we will also look at relvant digital output methods such as inkjet, Xerox and laser printing or the use of collaging techniques. Due to extensive demos and the need for personalized assistance, this class will frequently run beyond the regular 3 hour class time. Please plan for a 1:30 to 5:30 class. Prior printmaking experience is recommended, but not absolutely essential. Permission of instructor is required. Allow at least $200.- for materials and tools. 

91042

ART 405 KB Senior Seminar

Ken Buhler

. 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 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.