An exploration of visual language through the making and study of images - photographic, drawn, printed, painted, and modeled in three dimensions. The course is open to all students and is a requirement for all prospective art majors. There is no requirement of ability or prior knowledge or experience, only a serious commitment to discovering the resources of visual art, its practice and history.

See above.

Artists, including Dürer, DaVinci, Delacroix, Cezanne and Hopper have kept journals for centuries in which we can see how personal notes, fragments of reportage, sketches and personal musings eventually evolved into fully realized art works. In this course we will fill journals with our impressions, visual and literary, of visits to various sites in the Hudson Valley, natural and man-made. These will be the basis of large scale drawings made in the studio, sometimes collaboratively, sometimes solo. There will be much attention to instruction in basic drawing, including drawing from the figure. Students will be encouraged to make their journals as personal as possible through the use of collage, photography, video, and audio recording.

This Foundation class will connect Drawing and Painting. We will base our work on perception, but the basic elements: spatial relationships, structure (including design and composition), markmaking and light will be worked at from an abstract point of view, integrating intellect and intuition.

This jointly taught course (Battle/Fujita) will focus on the relationship between drawing and sculpture. We will render things that one sees and imagines from 2 to 3 dimensions and back again, using a wide variety of drawing and sculpture materials.

See above Fantastic Voyage (Laura Battle)

See ART 001 KB for description.

See ART 001 KB for description.

This course is open to students with or without experience in the silkscreening process as all aspects of the process will be explored. We will begin with the basics of silkscreen printing and build up to incorporate different techniques of silkscreening. Students will learn how to build their own screen, mix inks and prepare images for printing. The first three weeks will be spent developing each technique and understanding the different printing principals involved as well as getting accustomed to the entire process. There will be lectures and demonstrations, and the last weeks will focus on incorporating all techniques to create one final image and edition of prints. Students will work through issues of composition, design and color theory. Limited to 12 students.

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.

The content of the first five weeks will be flat shapes (2-dimensional) to be articulated in black, white and gray as observed in the tonal collages of the class subject. The fourth and fifth week will present color on the two dimensional collages. The student is expected to articulate tone and color with accurate interrelation. Outside of class for this period will include a tonal mix (black to white) on 1 & 2 inch squares, also a color range of complementary as well as analogous color. Black, white and grey still lifes will also be worked on outside of class in preparation for the following five-week sessions. The second five weeks will contain color in and on three-dimensional objects in actual space. These still life sets will start simple (a few objects) and continue to a more complex configuration with different surfaces, scale, and position. Outside of class work will complement the in class work. Alternate possibilities will refer to a historical model such as Cézanne or Chardin better to comprehend arrangement and approach. The last five weeks will approach the clothed figure including the head as subject. The out side problems will complement the in class work with alternative problems referring to historical models. The last week of the semester will be a final review of the semester's work done in an individual review with the instructor of twenty to twenty five pieces selected from the three segments of the semester work plus outside work. It is suggested that acrylic paint on white bond paper (spiral pad) be used for this class.

See above.

A practical and systematic study of the generation of volume, from drawing, through linear and planar construction (wood, glue gun) into (clay) modeling and (plaster) casting and carving. We will work on the realization of such concepts as solid and void (space); mass and gravity' axis (direction) and movement; compression and expansion; working in clay and plaster, with the complementary study from art and nature.

This course is designed to present the basic concepts of drawing. The student explores problems related to perceiving forms in light, perspective, handling space through hand-eye coordination, and drawing as a visual thought process.

See above.

This is the entry-level printmaking course, the prerequisite for all other printmaking classes in the art department. Its goal is to have students begin to use the tools and the materials of the printmaker as means for the development of personal imagery and self-expression through the serial progression the medium offers. Students will explore woodcutting, collotype, and learn how to conceive of and register plates for color printing. Students will learn to identify the various print media. The history of prints and archival methods will be discussed and there will be a field trip to a print cabinet to examine master prints.

Level II digital imaging offered in conjunction with level II printmaking. This calss is designed to develop images for use in printmaking using mutually dependent techniques and processes. Students may enroll in both classes simultaneously and use products created in each class to create another generation of products in the parallel class. Transparencies and color separations made from digital images may be converted to silk screen, cyanotype and/or photogravure prints. Prints may be scanned and recreated digitally and reprinted from large-scale ink processes. In the first half of the semester, the printing class would examine the basics of silk screen and photogravure printing with simple exposure techniques; simultaneously, the digital class would develop transparency printing, image control and color separation techniques. In the second half of the semester, students in the printing class would use the acquired digital techniques to expose silk screens and/or photogravure plates; simultaneously, the digital class would embark on advanced compilation printing involving multi-layered final products that would include prints made from the non-digital processes. Photoshop skills or permission of the instructor required. Students enrolling in both classes are given priority.

This studio course will extend the perceptual articulation learned in Painting I. Observation of various natural subjects will continue with more ambitious painting as well as the beginning of abstract and simplification of the various subjects. Different technical and expressive approaches will be encouraged and explored. Outside of class work will relate to the current class problem. A minimum of three hours per week will be required of the serious student. Drawing II is recommended to accompany this course.

In the first half of the semester there will be a structured approach to extending the knowledge that students have achieved in Painting I. A variety of projects will be assigned that will continue to take students deeper into the multi-faceted nature of painting and in so doing help them to discover a direction that they would like to go further into in the second half of the semester. Class critiques discussions and slide talks will be the primary means of instruction.

Prerequisite: Painting I.

The first half of the semester, concern with mass, will involve various internal and external marking systems that will interpret the presence of the body with individually chosen concepts that focus on particular aspects of the specific pose and the visual communications of these drawn priorities. Weekly outside of class assignments will follow the in-class instruction throughout the semester. The second half of the semester will engage the drawn relation of the students fixed position to the space of landscape, proceeding with the establishment of the ground plane and the location of the interrelationships of the base of the objects in the field of vision before the embellishment of the object with mark, tone, and textural interpretation. The semester's work will be reviewed during the last week of the semester. This review will consist of at least twelve drawings from each of the two sections including outside assignments; a total of twenty-five drawings. Material for the class will include soft charcoal, soft lead, newsprint and white bond paper. Higher grade paper and different marking materials to be encouraged on an individual basis, by instructor.

Intended for the sophomore/junior level student. This will be an exploration of materials ranging from traditional drawing media to collage, transfers, and low-tech printmaking. In addition, students will develop a large body of related work drawn from a single subject. We will not work perceptually, but instead will work from memory, dreams, and texts. Students will be expected at the outset to purchase a ream of good quality paper (100 sheets) as well as a range of art materials.

Prerequisites: Drawing I or Printmaking.

Exploring sculpture's proximity to painting in four mediums: plaster, constructed wood, metal and found materials.

In conjunction with "Cybergraphics II", this class will explore photographic printmaking techniques in etching and silkscreen. Students will learn to transform their photographs through continuous tone and halftone techniques, as well as from digital sources into "safe" photoetching, photogravure and silkscreen prints. While the first part of the semester will be dedicated to the technical aspects, the second will consist of their application in individual projects. This class can be taken on its own. However it is strongly recommended to take full advantage by signing up for Hap Tivey's "Cybergraphics II" as well. Students signing up for both classes will receive priority.

Prerequisite: Knowledge of basic b/w photography and printmaking 100, with permission of the instructor.

An advanced level sculpture course dealing with all aspects of construction in a wide variety of materials, especially metals and plastics: actual and illusioned movement, the dynamics of scale in relation to the body, light as transparency and reflection, the communication of energy through the articulation of space. Open to 8 technically qualified students.

See ART 300 ES above.

This course will meet every other week, alternately on campus, and in New York City at Professor Murray's studio.

Limited to 6 - 8 students by permission of instructor.

In this painting course, work and discussion will be at the advanced level. Much of the work will be independent with in-class critiques.

Prerequisite: Painting I & II

This will be a comprehensive (willed and observed techniques as well as theory) drawing course that will attempt to push individual tendencies in the hope of encouraging the idiosyncratic. We will draw from the nude and keep doodle diaries to exemplify the difference between that which is willed and that which is observed. The issue of Presence and Absence will be discussed, along with historical antecedents. Uses of Space/Time. Clay will be incorporated so that we can doodle three dimensionally and then draw our creations from observation two dimensionally. A reading list will be suggested but not required.

Open to upper level students with backgrounds in studio arts. Students in other art fields, philosophy, anthropology, etc. are welcome to apply. The course will focus on the use of photography as a material or tool in artmaking. The emphasis will be on students developing ideas and using simple and direct photographic means to express them. Students will make a body of work with snapshots, slides, laser xerox, polaroids, photocollage and other basic photographic forms. There will be slide presentations and discussion on the use of photography in the work of artists such as Andy Warhol, Vija Celmins, Gerhard Richter, Kiki Smith, Anselm Kiefer, Sigmar Polke, Hannah Hoch, Ed Ruscha, David Wojnarowicz, Susan Hiller and many others. There will be visits to New York City galleries and museums to look at and consider the prevalence of photographic based work in contemporary art practice. The course does not involve darkroom instruction and facilities will only be available on a limited basis to students who have prior experience. Admission by interview and portfolio review. Interviews 9:00 am on Registration Day in Prof. Ess's office, Woods Studio #210.

ART SEMINARS

All studio art majors must take three graduated and required seminars (Sophomore, Junior, Senior) aimed at creating a sense of community within the program and at supplementing studio courses by addressing issues and concerns of the visual artist.

2 credits This class is designed to familiarize Studio Art majors with the leading artists and art movements of the twentieth century. The history of modern art will rapidly be surveyed with hundreds of slides, comments by the instructor and the class, and visits to New York museums.

1 credit All studio art majors (and interested photography majors) who are engaged in the Senior Project will meet for a weekly seminar/critique/discussion. The aim of the meeting will be to create a forum for the continual exchange of views and ideas among the senior students and to encourage and develop skill in articulating ideas in speech and writing. Its form and subject will change week to week, but will include writing assignments (toward "Work & Image" catalogue); group critiques and discussion of student work; discussion of exhibitions on campus; discussion with guest speakers.