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 14, 2011, 5 PM or they will be charged and responsible for the $150.00 Department Fee.

91117

ART 100 Cybergraphics

Hap Tivey

. T . . .

1:30 -4:30 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. Class size: 14

91133

ART 101 LB Painting I

Laura Battle

. T . . .

1:30 - 4:30 pm

FISHER 140

PART

This course is an introduction to painting with an emphasis on working from life. Students will work with oil paint on canvas and thus should be aware of the cost of supplies. We will cover the fundamentals of working 2 dimensionally including line, shape, value, gesture, perspective, volume, composition, and space with an emphasis on color as the primary force in creating an image. Subjects will include still life, landscape and the figure. Towards the end of the class, students will be asked to explore more personal and expressive avenues in their work. Class size: 14

91847

ART 101 LB2 Painting I

Laura Battle

. . W . .

10:10 - 1:10 pm

FISHER 140

PART

See above

91616

ART 101 LS Painting I

Lisa Sanditz

. . . Th .

1:30 - 4:30 pm

FISHER 140

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.   Class size: 14

91128

ART 101 LS2 Painting I

Lisa Sigal

. T . . .

10:10 - 1:10 pm

FISHER 140

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. Class size: 14

91130

ART 106 AG Sculpture I

Arthur Gibbons

. . W . .

10:10 -1:10 pm

FISHER 138

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. Class size: 14

91125

ART 106 JS Sculpture I

Julianne Swartz

. T . . .

10:10 -1:10 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.  Class size: 14

91127

ART 106 KL Sculpture I

Kristin Lucas

M . . . .

1:30 -4:30 pm

FISHER 138

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.  Class size: 14

91124

ART 107 DD Drawing I

Daniella Dooling

. T . . .

10:10 -1:10 pm

FISHER 149

PART

Leonardo 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. Class size: 14

91848

ART 107 MM Drawing I

Medrie MacPhee

. T . . .

1:30 -4:30 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. Class size: 13

91136

ART 107 KF Drawing I

Kenji Fujita

. . W . .

1:30 -4:30 pm

FISHER 149

PART

This basic studio arts course will introduce students to drawing as a way of understanding the visible world. Students will work inside and outside of class on assignments that deal with line, gesture, form and space, with the goal being the development of a body of work made by observing and interpreting. Class time will be used to work on in-class projects, which will include drawing from the still life and the model as well as working with abstraction and material processes such as collage. Students will also participate in the critique of finished class work. Demonstrations in various techniques and media will be supplemented by presentations of artists such as Josef Albers, whose teaching ideas will inform some of our investigations. Class size: 14

91141

ART 107 LS Drawing I

Lisa Sigal

. . W . .

10:10 -1:10 pm

FISHER

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 equivalents. We will therefore be working from direct observation for a majority of the time. A variety of drawing techniques and media will be introduced. Regular critiques will be held, in which the students develop a useful vocabulary aiding them to further discuss and think about their art practices. Class size: 14

91568

ART 109 NL Printmaking I: Intro to Printmaking

Nicola Lopez

M . . . .

1:30 -4:30 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, students will learn the techniques involved primarily in Intaglio (etching), Relief (woodcut).  Although the main 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.  There are no pre-requisites for this class. Class size: 12

91135

ART 109 LO Printmaking I: Introduction to Intaglio (Etching)

Lothar Osterburg

. . W . .

1:30 -4:30 pm

FISHER 139

PART

In this class you will learn the terminology and basic as well as some advanced techniques of intaglio (Etching) from drypoint, etching and aquatint and combinations thereof, 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.

Class size: 12

91118

ART 200 Cybergraphics II: Art for the Street

Hap Tivey

. . . Th .

10:10 -1:10 pm

HDR 106

PART

This section of advanced two-dimensional graphics will focus on the tradition of prints and posters as street art: political statement, advertising media and populist artwork. We will begin with an examination of work by early modernists including Lautrec, Malevich and El Lissitzky. We will progress through segments on political posters and classic advertising from the forties in conjunction with the advent of mass-produced poster art. Artwork as advertising for music and exhibitions, as well as advertising for cinema will be viewed within the context of merchandise advertising and political statement. Finally we will examine contemporary ventures by artists including Basquiat, Haring, Banksy, Swoon and Fairey. For the first half of the class, assignments will address specific software issues covered relative to content and compositional topics discussed. The second half of the class will focus on individual projects. Because skill in Photoshop and/or Illustrator is required for this class, Cybergraphics 1, Digital Imaging Photo 301, or permission by the instructor is prerequisite.

Class size: 12

91122

ART 201 JS Painting II

Joseph Santore

M . . . .

1:30 -4:30 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. Class size: 12

91132

ART 201 KB Painting II

Ken Buhler

. . W . .

10:10 -1:10 pm

FISHER 139

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 I 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

91123

ART 206 DD Sculpture II: Casting Workshop

Daniella Dooling

M . . . .

1:30 -4:30 pm

FISHER 142

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: 12

91131

ART 206 KL Sculpture II: Video Installation

Kristin Lucas

. . W . .

1:30 -4:30 pm

AVERY

PART

Cross-listed:Film & Electronic Arts This production-based course focuses on the use of video as a sculptural material through an investigation into early video art, installation art, and video performance; alongside workshops, reading discussions, and group critiques. Students are encouraged to explore the temporal and spatial aspects of video installation through individual and collaborative projects for both gallery and offsite contexts. Workshops will include editing for multiple screen compositions, experimentation with projection onto and through physical materials, and an introductory tutorial on interactive circuitry. This course coincides with CMSC 317: The Computational Image, jointly meeting several times over the semester for workshops and exhibitions. Pre-requisite: Completion of an Introduction to Video course, or with permission of the Instructor. Class size: 12

91120

ART 207 JS Drawing II: The Figure

Joseph Santore

M . . . .

10:10 -1:10 pm

FISHER 140

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: 12

91140

ART 209 LO Printmaking II: Experimental

Lothar Osterburg

. . . Th .

1:30 -4:30 pm

FISHER 139

PART

This class will build on techniques learned in an introductory level or advanced printing class. The focus will be on the development and creation of projects aimed at the question of what constitutes a print. A traditional print may just be ink on paper, but artists have pushed that boundary beyond sculpture, employ mass reproduction techniques or print with everyday materials. This class will question the traditional notion of printmaking and allow students to explore its boundaries. The first part of the semester will mix technical exploration with theoretical assignments, the second part of the semester consists of a final project. Please allow for material costs between $100.- and $200. Class size: 12

91134

ART 301 MM Painting III

Medrie MacPhee

. . W . .

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. Class size: 8

91137

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. Class size: 8

91139

ART 305 JP Sculpture III

Judy Pfaff

. . . Th .

10:10 -1:10 pm

UBS

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.

91129

ART 405 KB 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. Class size: 20