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 College and 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 17, 2014, 5 PM or they will be charged and responsible for the $150.00 Department Fee.

91927

ART 100 LO Cybergraphics

Lothar Osterburg

. T . . .

10:10 am -1:10 pm

HDR 106

PART

An introduction to digital image creation and manipulation for display in print and on screen. With Photoshop at the center, other programs of the Adobe Suite, primarily Illustrator and InDesign will be introduced. Individual final projects will emerge out of a series of exercises that will build image making skills and establish a digital workflow. Class Size: 14

92207

ART 100 AC Cybergraphics

Adriane Colburne

. T . . .

1:30 pm - 4:30 pm

HDR 106

PART

See above.

91506

ART 100 HT Cybergraphics: Image construction

Hap Tivey

. . . Th .

10:10 am -1:10 pm

HDR 106

PART

Image Construction is an introduction to tools and methods for producing and manipulating images. The course will apply toolbox instruction to a series of exercises that will build image-making skills primarily in Adobe Photoshop. Instruction and exercises emphasizing the use of image-making in site-specific project proposals will evolve towards individual final projects. Class size: 14

91509

ART 101 LB Painting I

Laura Battle

. . . Th .

10:10 am -1:10 pm

FISHER 149

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

91499

ART 101 LS Painting I: Farm to Table

Lisa Sanditz

. T . . .

1:30 pm -4:30 pm

FISHER 140

PART

For students who have had virtually no experience with painting or need a brushup. 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. Class size: 14

91501

ART 101 MM Painting I: sOUP TO NUTS

Medrie MacPhee

. . W . .

10:10 am -1:10 pm

FISHER 140

PART

For students who have had virtually no experience with painting or need a brushup. Lectures, demonstrations, excercises 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. Class Size: 14

91512

ART 105 ED Sculpture I

Ellen Driscoll

. . . . F

10:10 am -1:10 pm

FISHER 138

PART

This is a hands-on, introductory class that will introduce students to basic metal, wood, and other material fabrication techniques as vehicles for exploring the magic of scale in a sculptural vocabulary. The manipulation of scale is as essential to a sculptor as the range of musical notes on a piano are to a pianist. Working in a spectrum from miniature to the scale of architecture and landscape, students will make a series of sculptural projects that challenge and shift our perception of what is big, and what is small, what is at the center, and what is at the margin, in our physical environment. The sculptural work of the class will be complemented with a series of readings, powerpoint presentations, and discussions that investigate the manipulation of scale and perception by sculptors throughout history. Class size: 14

91500

ART 106 AG Sculpture I: The Chair

Arthur Gibbons

. . W . .

10:10 am -1:10 pm

FISHER 138

PART

The chair is omnipresent and reflects our thoughts, hearts and bodies. As the human figure has been the focal point for artists for centuries, we will employ the image and function of the chair as our muse in the making of sculpture. The Chair studio class will work with found objects, plaster, clay, wood and metal over the span of the semester. There will be wood and metal workshops where students will gain a fundamental knowledge of each shops’ tools and techniques. An illustrated survey of the history of sculpture will be presented throughout the semester. Class size: 14

91494

ART 106 JS Sculpture I

Julianne Swartz

M . . . .

10:10 am -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

91497

ART 107 DD Drawing I

Daniella Dooling

. T . . .

10:10 am -1:10 pm

FISHER 138

PART

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, forms from nature, and the still life in order to give students fundamental and essential drawing skills. Line, shape, value, gesture, volume, weight, composition and space form the basis for translating from 3D to 2D, and these will each be covered through weekly homework assignments and readings. A wide range of drawing materials will be introduced. Class size: 14

91504

ART 107 LS Drawing I

Lisa Sanditz

. . W . .

10:10 am -1:10 pm

FISHER 149

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

91503

ART 109 LO Printmaking I: INTRO TO INTAGLIO

Lothar Osterburg

. . W . .

1:30 pm -4:30 pm

FISHER 139

PART

The goal of this introductory class is to give students a solid foundation to the terminology and methods of intaglio (etching), from drypoint, etching and aquatint 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

92209

ART 109 AC Printmaking I

Adriane Colburne

M . . . .

1:30 pm- 4:30 pm

FISHER 139

PART

In this class students 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

91514

ART 109 RS Printmaking I

Rob Swainston

. . . . F

10:10 am -1:10 pm

FISHER 139

PART

See above.

91513

ART 122 MG Architectural Inventions

Maximillian Goldfarb

. . . . F

10:10 am -1:10 pm

FISHER 161

PART

Cross-listed: Experimental Humanities  This is a studio course emphasizing drawing as a mode of imagining and developing new forms of architecture through image and concept. We will begin with processes of envisioning structures and infrastructures through imaginary design, unconstrained by practical considerations. Studio projects will evolve from drawing and introductory modeling, ending in developed site-transformation concepts: The course will lead to proposals of practical and/or fantastical architectures at intersections of art and design. Students will research various sites, considering models that link the identity of place to its origins, and alternatively anticipating transitions into new, visionary modes of design through adaptation and intervention. We will examine a wide array of past and living examples through the presentation of projects, text, screenings and other materials. Students will develop their own plans individually and collaboratively, and will be encouraged to depart from traditional approaches to design to work from personal directives, improvisation and utopian vision. Weekly projects will lead to a developed proposal for situating your program in a specific site; research can include a range of materials; found (historic, inspirational) images, text, original drawings, diagrams, objects, maps, models and other relevant artifacts.  Class size: 14

91495

ART 201 JS Painting II: Painting the Figure

Joseph Santore

M . . . .

1:30 pm -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: 14

91505

ART 201 LB Painting II: Abstraction

Laura Battle

. . W . .

1:30 pm -4:30 pm

FISHER 149

PART

This course will introduce students to the forces at work in painting as conveyers of meaning when ‘the nameable’ take a back seat.  We will focus on gesture, geometry, reduction, process, and transforming the seen world.   Students must have taken Painting 1 and/or Drawing 1 or 2. Also, please be aware that materials for this class are costly.  Class size: 14

91492

ART 206 DD Sculpture II: Casting

Daniella Dooling

M . . . .

1:30 pm -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: 14

91507

ART 206 KF Sculpture II: between geometry & gesture

Kenji Fujita

M . . . .

10:10 am – 1:10 pm

UBS

PART

In 1992, The Whitney Museum exhibited "The New Sculpture 1965-75: Between Geometry and Gesture". This show focused on a number of artists who worked in large loft studios and experimented with ideas, materials and processes. In this level 2 Sculpture class, students will use the UBS Red Hook Barn Studio to work on projects that take up space. In the first half of the semester, we will look at work from this show and examine some of the ideas that these Process/Materials artists used forty years ago. This will in turn lead us to think about ways of working that are specific to the time that we are living in now. In the second half of the semester, we will turn from this historical approach in order to work on something more timeless, but no less space-consuming: a mini golf course, in which each student will design, construct (and play) one hole. One of the goals will be to draw on what was learned in the first half and apply it to this large second half project. Requirement: Sculpture 1 or by permission of the instructor. Class size: 14

91493

ART 207 JS Drawing II: The Figure

Joseph Santore

M . . . .

10:10 am -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: 14

91508

ART 209 RS Printmaking II

Rob Swainston

. . . Th .

10:10 am -1:10 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 materials cost between $100. and $200. Class size: 10

91510

ART 305 JP Sculpture III

Judy Pfaff

. . . . F

10:00 am - 4:00 pm

UBS

PART

This is an advanced sculpture class open to qualified students only. A wide variety of materials, methods, and concepts will be explored with an emphasis on the development of independent projects. Prerequisites are Sculpture I and Sculpture II. Class size: 12

91517

ART 306 JG Acting As If: Parody, Camp & Spectacle

Jeffrey Gibson

. . W . .

1:30 pm -4:30 pm

UBS

PART

This one-third seminar and two-thirds studio course will introduce Junior Studio Arts majors to contemporary artists whose artworks incorporate aesthetic references drawn from alternative subcultures, drag, mass media and cultural events. Students will read selected texts and watch artist videos that explore these ideas as strategies for expressing critical perspectives on popular culture. Two-thirds of the time will be for students to create independent and ambitious multidisciplinary artworks that relate to the ideas presented in class. Students must have completed a minimum of two 200 level studio arts classes to be eligible for this course.  Class size: 14

91502

ART 307 KF Drawing / PAINTING III: FACTS AND FICTIONS

Kenji Fujita

. . W . .

10:10 am -1:10 pm

FISHER 142

PART

Facts: for the first half of the semester, students will use drawing as a form of research. Out of this research will emerge many notes, sketches and plans, done in various mediums, sizes, styles and approaches. The goal will be for each student to start a collection of images for future work. As the semester progresses, students will begin to make more complex work. They will start to imagine where this research could lead them. Fictions: for the second half of the semester, students will begin to translate their works into larger, more complex pieces. There will also be opportunities for various forms of collaboration. The final project will focus on the process of transformation. For example, the work might get bigger, turning into a construction of many elements. But they could also move in another direction, towards a deconstruction or even something more simplified and abstract. Requirement: Drawing 2 or Painting 2, or by permission of the instructor. Class size: 12

91511

ART 405 ED Senior Seminar

Ellen Driscoll

. . . Th .

5:00 pm -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 focuses on the development of the student as a thinking and working artist. This is accomplished through variety of approaches. Presentations are made by visiting artists and Studio Arts faculty who discuss their life and work. Students develop a series of projects designed to aid them in recognizing, conceptualizing, and articulating their particular artistic interests. Presentations by alumni from the Bard studio arts program provide a glimpse into the future; and, workshops on the photographing of art and website development help the student prepare for life after Bard. Exhibitions in the fall semester will draw students out of their studios well before the presentation of their senior show. Required studio visits from faculty members other than the project advisor insure fresh and varied responses to the ongoing senior project. The Senior Project Exhibition is the culmination of the Senior year and is evaluated before a faculty review board and a Senior Seminar critique. *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.