Please Note: There is a $150.00
|
91528 |
ART 100 RO Cybergraphics |
Rune Olsen |
. . . . F |
1:30 pm -4:30 pm |
FISHER 161 |
PART |
In this studio class, participants will create
a body of artwork that is generated and informed by digital tools. Course
content will include an introduction to digital image creation and
manipulation for display in print and on screen with Adobe Photoshop and
Illustrator at the center. Projects in this course will be generated for
the web in addition to physically fabricating work that is printed, constructed
and occupies an architectural space. Class
size: 14
|
91529 |
ART 100 RO2 Cybergraphics |
Rune Olsen |
. . W . . |
1:30 pm -4:30 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
|
91682 |
ART 101 JG Painting I |
Jeffrey Gibson |
. . . Th . |
10:10 am -1:10 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
|
91694 |
ART 101 JS Painting I |
Joseph Santore |
M . . . . |
1:30 pm -4:30 pm |
FISHER 140 |
PART |
This course is an introduction to painting with an
emphasis on working from life. The focus will be on learning the language
of color; value, temperature, contrast, saturation, intensity and how color
becomes light. Students will also be learning about geometric structures
in the rectangle and will concentrate on developing spatial relationships and
organizing shapes across the picture plane. Students will work on gessoed paper as well as stretched canvas with oil paint.
A limited palette will be used over the first weeks as students become
familiar with the process. Most of the work in class will be from life,
still-lifes and the figure but there will be projects
that involve working from reproductions. This class is about paint, about
the physical process of putting paint next to paint, it's not about drawing and
filling in and it's not about rendering individual objects. Class time is
for work and discussions and critiques will take place during breaks or at the
end of the class. Students are expected to attend every class and there will be
homework assignments. Class
size: 14
|
91695 |
ART 101 MM Painting I |
Medrie MacPhee |
. 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
|
91690 |
ART 105 AG Basic Sculpture: 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
|
91684 |
ART 105 JS Basic Sculpture |
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
|
91696 |
ART 105 KF Basic Sculpture |
Kenji Fujita |
. . . Th . |
1:30 pm -4:30 pm |
FISHER 138 |
PART |
Basic
Sculpture is a studio
arts course in which students will work with materials and processes to
investigate form, space, surface, material, location and gesture.
Particular emphasis will be placed on direct and improvisational ways of
working. The class will be structured around weekly and bi-weekly
assignments that usually begin with an exercise that introduces the class to a
medium, technique and set of ideas. Students will work with cardboard, string,
found objects and other simple materials to make their three-dimensional
artworks. They will then move on to work with mold making and casting, light
carpentry and welding. While the department will supply most of the materials
for this class, students will be expected to collect some on their own. These
materials may come from sources such as the 99-cent store, the fabric store,
the free store and the recycling center. Group critiques of projects will be
supplemented by demonstrations in materials and techniques, presentations of
related modern and contemporary artwork and discussions of readings. Class
size: 14
|
91680 |
ART 107 DD Basic Drawing I |
Daniella Dooling |
. T . . . |
10:10 am -1:10 pm |
FISHER 149 |
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. We will look at old master
drawings as well as contemporary artists in relationship to each of these
assignments. A wide range of drawing
materials will be introduced. Students
will be expected to spend at least six hours drawing outside of class and
participate fully in class critiques. Class size: 14
|
91693 |
ART 107 LB Basic Drawing I |
Laura Battle |
. . W . . |
1:30 pm -4:30 pm |
FISHER 149 |
PART |
This
course is an introduction to working perceptually. One goal of this course is
for students to be able to render form in space, and to understand how light plays a role in unifying a composition. Additionally,
students will examine how surface and formal considerations, such as
composition, mark-making and materiality play a role in transforming the seen
world into an expressive one. Class
size: 14
|
91692 |
ART 107 LS Basic Drawing I |
Lisa Sanditz |
. T . . . |
1:30 pm -4:30 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
|
91685 |
ART 109 LO Printmaking I: Intaglio |
Lothar Osterburg |
. T . . . |
10:10 am -1:10 pm |
FISHER 139 |
PART |
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
|
91687 |
ART 109 BG Printmaking I |
Beka Goedde |
. . . . F |
10:10 am -1:10 pm |
FISHER 139 |
PART |
Printmaking
is a dynamic, future-oriented process, not a static historically determined set
of practices. In this class, we will learn a set of traditional
printmaking practices—woodblock, mono-print, and intaglio—through layering and
colors with the aid of a digital toolbox. As we gather specific skills we
learn that print processes are not ‘given.’ They are invented, and
continue to be reinvented by industries and artists. Class work will
swing between very tight, precise, and meticulous assignments, and very loose
and experimental processes punctuated by slide lectures on historic and
contemporary printmaking. In this way we learn a specific set of ‘good printshop practices’ along with an awareness of how artists
can activate and innovate with printmaking.
Class size:
12
|
92033 |
ART 109 LO2 Printmaking I |
Lothar Osterburg |
. . W . . |
1:30 pm – 4:30 pm |
FISHER 139 |
PART |
See above.
|
91681 |
ART 112 Colorama |
Ken Buhler |
. . W . . |
10:10 am -1:10 pm |
FISHER 149 |
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. Class
size: 14
|
92007 |
ART 150 EXTENDED MEDIA I |
David McKenzie |
. . W . . |
10:10 am -1:10 pm |
FISHER |
PART |
The expansion of Art’s definition means that the
terms used to categorize works of art are often technically incorrect—e.g. film
used to categorize films not shot on the medium of film. These same
terms point to the incredible proliferation of tools and techniques that are
becoming readily available to large segments of the population. Through
readings, critiques, and assignments we will explore artistic practices that
have stretched previous categories while creating new categories—such as social
practice, post-media, and post-internet art. Extended Media 1 will be grounded
in art historical precedents, but students will be introduced to a number of
recent technologies and working methods outside the traditional narratives of
painting and sculpture. Assignments and instruction will explore various and
varied forms of construction—from creative writing and performance to site
interventions and virtual installations. Emphasis will be placed on the
development of ideas and strengthening the ability to critique not only the
work of art but the tools and techniques used to make it. Class size: 14
|
91689 |
ART 201 LS Painting II: Materials |
Lisa Sanditz |
. . W . . |
10:10 am -1:10 pm |
FISHER 140 |
PART |
Splash,
drip, pour, scrape, glop, brush and spray.
Do you take yours shiny, matte or glossy? We will explore the different properties of
acrylic and oil paint this semester. We
will experiment with oil mediums such as stand oil, cold wax, Neo-Megilp and Damar Varnish; and acrylic mediums
including gloss and matte finishes, polyurethane, and molding paste. We will
make paint and experiment with different painting surfaces. While learning this technique, you will
connect these materials to the content of the paintings you make. Looking at
modern and contemporary art and artists using these materials will also be
considered. Painting experience required. Class size: 14
|
91691 |
ART 205 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
|
91679 |
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
|
91688 |
ART 209 LO Printmaking II: Bookmaking - One of a Kind |
Lothar Osterburg |
M . . . . |
10:10 am -1:10 pm |
UBS |
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. To emphasize on content we will
utilize relatively fast methods of content creation,
including collage, drawing, mono printing, as well as relevant digital
output methods such as inkjet, Xerox and laser printing but also the more
traditional printmaking process of letterpress. The class will also teach
a broad range of bookbinding techniques. Due to extensive demos and
the need for personalized assistance and its location in UBS, it is
desirable that students are able to stay late and do not schedule a class
starting at 1:30pm. Prior printmaking experience is recommended, but not
essential. Permission of instructor is required. Allow $100.- to $150 for materials and tools. Class size: 12
|
91700 |
ART 209 BG Printmaking II |
Beka Goedde |
. . . Th . |
1:30 pm – 4:30 pm |
FISHER 139 |
PART |
Printmaking
is a dynamic, future-oriented process, not a static historically determined set
of practices. All of the processes that we now call printmaking—relief, intaglio,
lithography, silkscreen, inkjet, etc.—are historically negotiated assemblages
between humans, our machines, available materials, and social structures.
Humans are image making animals as well as image spectators. Print II
artists will be encouraged to take on issues of the printed image through a mix
of traditional, photomechanical, and experimental print processes. We
will learn how to look at a drawing, painting, or picture with the idea that we
want to ‘make it a print’; how to unbuild and rebuild
an image; and how to technically, formally, and conceptually ’back-think’ a
print by separating out
‘what works’ from what does not. As we gather these
specific skills we will learn that processes are not ‘given.’ They are
invented, and continue to be reinvented by industries and artists. Class size: 12
|
92008 |
ART 250 EXTENDED MEDIA II |
David McKenzie |
. . . Th . |
1:30 pm – 4:30 pm |
FISHER |
PART |
This is an advanced class meant to encourage individual
projects, questions, and approaches. It follows a workshop model, and uses the
languages and attitudes of performance art as a general methodology. Students
will be encouraged to propose and pursue self-generated assignments beside the
required class assignments. In class, we will explore movement based thinking
beside alternative strategies of object making in an effort to remain flexible
and even uncomfortable. Special attention will be paid to work that
incorporates time-based media, installation, writing, and digital technology.
Group and individual critiques will lead students along a path to determining
their own approach to the expanding field of art production, and at the end of
the course students will have a greater understanding of how to shape their own
vision and use their own voice. Prerequisites: Permission of the instructor.
Class
size: 14
|
91699 |
ART 301 LB Painting III: Space & Mass |
Laura Battle |
. T . . . |
1:30 pm -4:30 pm |
UBS |
PART |
Students
who wish to work perceptually, abstractly or conceptually are welcome. The
primary goal of this class is to help students locate specific aesthetic
territory to explore in a substantive way through a series of open-ended
assignments. Each student will be asked to work very independently to
ultimately develop a cohesive body of work. Drawing will be integrated into the
painting process as an expedient way to address issues or experiment. Students
will be expected to challenge themselves in terms of scale and materials to fit
the content, aesthetics, and process by which they make their work. Sessions will be divided between
critique and work time, augmented by readings. Painting 2 is a prerequisite for
this class, or permission of instructor.
Class
size: 14
|
91683 |
ART 305 JP Sculpture III |
Judy Pfaff |
. . . Th . |
10:00 am -4:00 pm |
UBS |
PART |
This is an advanced sculpture class open to
qualified students only. The defining characteristic is the freedom and space that
each student is given to explore their ideas and go beyond personal limits and
preconceptions. All media and methods are welcome as long as they are
accompanied by a consideration of the specific spaces of UBS. This class requires a MAJOR
devotion of time and energy. Students are treated as working artists and are
expected to completely install three site-specific projects of their own
inspiration. Critique of the ideas and execution will accompany each project
followed by a thorough de-installation of the work. Open to ambitious,
self-guided students awaiting a challenge. It is an all day
class, from 10-2 and then a two hour "lab" for demonstrations in
welding, woodworking, electrical wiring and other processes. Class
size: 12
|
91697 |
ART 306 JG Acting As If: Parody, Camp & Spectacle in Contemporary
art |
Jeffrey Gibson |
M . . . . |
1:30 pm -4:30 pm |
FISHER |
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. Projects will include assemblage sculpture, digital
collage and image manipulation, and experimenting with gifs and video. Students
must have completed a minimum of two 200 level studio arts classes to be
eligible for this course. Class
size: 14
|
91686 |
ART 307 MM Drawing III: Drawn & Quartered |
Medrie MacPhee |
. . W . . |
10:10 am -1:10 pm |
FISHER 142 |
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 goal is
to gain an ability for independent and self-directed
work by the end of the semester. Students should have taken Drawing and/or
Painting 2, but will be admitted on a case-by-case basis. Class
size: 10
|
91701 |
ART 405 KB Senior Seminar |
Ken Buhler |
. T . . . |
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