Please Note: There is a $150.00 Studio Art Department Lab 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, February 11, 2009, 5 PM or they will be charged and responsible for the $150.00 Department Lab Fee.

19340

ART 100 Cybergraphics

Hap Tivey

. . . Th .

10:00 -1:00 pm

HDR 106

PART

Cross-listed: Integrated Arts 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.

19348

ART 101 BG Painting I

Bernard Greenwald

. T . . .

9:00 -12:00 pm

FISHER 140

PART

This is the entry level painting course which is intended to introduce you to color theory, using color to express mass and form in light, composition, drawing and to the capacity to set expressive goals for yourself and to pursue them in an ordered and self critical way. There will also be discussions of the work of masters of the tradition in order that young painters begin to find a place for themselves relative to that tradition. The primary media used will be oil paint, alkyd oil, or acrylic on board, paper and canvas. A class will be devoted to teaching you how to use the tools in the woodworking shop to build your own canvas stretchers and every effort will be made to provide the student with the craft and as well as conceptual information necessary to continue into Painting II.

19346

ART 101 JS Painting I

Joseph Santore

M . . . .

1:00 pm -4:00 pm

FISHER 140

PART

This course is an introduction to the language and methods of constructing a painting. Students will be working with oil paint and will need the necessary equipment: brushes, paint, solvent, glass palettes, etc. Students will be working with geometric forms in the beginning to learn structure and to study spatial relationships, scale and composition. We will be working with a limited palette to begin with (black, white and grays) and the focus will be on the study of value. We will slowly add color in an attempt to become familiar with the concept of temperature. The idea is to slowly build toward the use of a full palette so that the complexities of color relations can be addressed toward the end of the semester. The emphasis of this course will be on color and how color becomes light as well as the organization of shapes across the plane to create space. We will be working with mainly still lifes but the last five or six weeks will be devoted to the figure. Not available for on-line registration.

19352

ART 101 NE Painting I

Nicole Eisenman

. T . . .

1:30 pm -4:30 pm

FISHER 140

PART

For students who have had little to no experience with painting. Lectures, demonstrations, exercises and assigned projects will provide students with the fundamentals of painting. Exploring basic color theory and paint handling combined with an on going analysis of composition and organizing principles as they relate to painting will be the thrust of this class. We will work in oil paint; supplies will run between $200 -$400. Assignments and in class projects will cover still lifes, figuration, landscape and various aspects of abstraction.

19358

ART 101 LS Painting I

Lisa Sanditz

. . W . .

9:30 -12:30 pm

FISHER 140

PART

The objective of this course is to introduce students to the materiality and techniques of painting.  Classroom time will include demonstrations, studio work, slide lectures and group critiques.  Students will begin painting on paper, learn how to build and stretch canvases and paint with oil on canvas. Through instruction and practice, students will learn about the formal elements of painting, such as color, form, gesture and composition, while also exploring their individual style through experimentation. Classroom critiques will promote each student's capacity for dialogue about art. Additionally, familiarity with traditional, modern and contemporary painting will be encouraged.

19362

ART 106 AG Sculpture I: The Chair

Arthur Gibbons

. . W . .

1:00 pm -4:00 pm

FISHER 142

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.

19347

ART 106 DD Sculpture I

Daniella Dooling

M . . . .

1:00 pm -4:00 pm

FISHER 138

PART

Chewing, welding, washing, licking, sewing, casting, baking, eating….This course will focus on how an artist’s process and the qualities inherent in specific materials can combine to create works of art. Through a series of projects, we will investigate the notion of “process” as it was defined in the late 60s and how it has evolved into its current manifestation in the practice of contemporary art making.

19344

ART 106 JS Sculpture I

Julianne Swartz

M . . . .

9:30 -12:30 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.

19350

ART 106 KL Sculpture I

Kristin Lucas

. T . . .

9:00 -12:00 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.

19356

ART 107 BG Drawing I

Bernard Greenwald

. . W . .

9:30 -12:30 pm

FISHER 141

PART

Drawing is the basis of visual intelligence. It enables us to envision and manipulate masses in space as light reveals them. It is central to the foundation of all visual art. This course will be based on perception, drawing from objects, the human figure, masterworks and interior and exterior spaces. Students will learn to critique each other’s work orally and in written form, some drawings will be made collaboratively and we will explore making drawings that are very small and mural sized. The work of draughtsman from the history of art will be analyzed and substantial work outside of class will be expected each week. Students will be graded on their individual progress and improvement.

19366

ART 107 LB Basic Drawing I: Works On Paper

Laura Battle

. . . Th .

1:30 pm -4:30 pm

FISHER 149

PART

This course will be an introduction to drawing, with an emphasis on working from life to give students fundamental, 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 exercises. The second half of the class will be devoted to color, with an emphasis on understanding how colors position themselves in relation to each other. Towards the end of the class, projects will open up to allow students to explore the expressive potential of the techniques and properties of drawing.

19353

ART 107 LS Drawing I

Lisa Sanditz

. T . . .

1:30 pm -4:30 pm

FISHER 149

PART

The emphasis of this course will be to increase awareness of perception in order to translate 3D subjects onto 2D surfaces.  Students will explore line, gesture, form, volume, space and composition using a variety of materials.  Students will begin the semester by making their own sketch-book.  Assignments will use the figure, the still life, and spaces in and out of the classroom as subject matter.  Lectures and group critiques will accompany studio work.

19363

ART 109 BG Printmaking I: Introduction to Intaglio

Bernard Greenwald

. . . Th .

9:00 -12:00 pm

FISHER 139

PART

The intaglio process consists of printmaking done on metal plates. It includes drypoint, etching, aquatint, engraving and monotypes as well as techniques of wiping and edition printing. The emphasis will be on learning these techniques and the craft and possibilities in this medium. Students will be encouraged to see how successive prints from a plate as it develops and altered can elucidate and transform an image

19349

ART 109 NL Printmaking I

Nicola Lopez

. T . . .

9:00 -12:00 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, student will learn the techniques involved in Intaglio (etching), Relief (woodcut) and Monoprint.  Although the primary 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.

19360

ART 201 Painting II: Abstraction

Laura Battle

. . W . .

1:00 pm -4:00 pm

FISHER 149

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.

19354

ART 206 JS Sculpture II: Interactive Strategies

Julianne Swartz

. T . . .

1:30 pm -4:30 pm

FISHER 165

PART

This class will explore the possibilities of interactivity in sculpture and installation, investigating the boundaries between artist, object, and viewer. Dadaists, Surrealists and later the Fluxus movement, Happenings, and Performance Art often involved viewers as an integral part of the work.  We will examine artists of these genres and discuss their strategies in relation to object making, focusing on issues of site and content as well as physical strategies. We will look at the intersection of performance and object making to create “Performative Objects” including kinetic sculpture and sculptures that use or create sound. We will also explore Performance as a medium, focusing on engaging audience interaction and participation. Using a variety of materials and techniques, we will create works that are viewer activated, experimental and participatory in nature, Sculpture 1 or the equivalent is a prerequisite.

19365

ART 206 KL Sculpture II: See More Than One

Kristin Lucas

. . . Th .

9:00 -12:00 pm

FISHER 165

PART

Cross-listed: Integrated Arts Measure the pulse of collaboration and collectivism within contemporary art practice while focusing on the production of a large-scale collaborative art project. In this course, artistic production is not private. Bring your resources and experience to the table and throw caution to the wind. Emphasis will be on making possible that which is otherwise impossible without a whole lot of minds, bodies and skills. Throughout the semester, we will critically examine the relationships of art and life, artist and viewer, artist and community, notions of authorship, participation and non-participation, and the collective impulse in contemporary art alongside the popularity of social networking tools for collective action in the public sphere. Students will be required to do readings and presentations on collaborative and collective art practice from the 60's to present day, and be active participants in a group project––the results of which will be greater than the sum of its parts.

19343

ART 207 JS Drawing II: The Figure

Joseph Santore

M . . . .

9:30 -12:30 pm

FISHER 140

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. Not available for on-line registration.

19361

ART 207 KF Drawing II: Collage

Kenji Fujita

. . W . .

1:00 pm -4:00 pm

FISHER 140

PART

“Drawing 2: Collage” is an intermediate level studio arts course in which students will work with collage using a hands-on approach emphasizing direct and improvisational processes. The semester will begin with class work in a number of mediums, using different techniques and strategies for each one. This will lead to the second part of the semester in which one idea will be explored in depth. In the third and final part of the course students will move into more expanded areas of collage which will include using text and photography to explore the medium as a form of graphic communication. Throughout this course students will be looking at Cubism, Surrealism, Dada and Appropriation art as well as street art and other forms of work that have a social/political dimension. Together, they will function as visual and historical references to the work that is done in class. Class time will be spent working on projects and critiquing finished work supplemented by in-class demonstrations, presentations and readings. On-line registration.

19345

ART 209 Printmaking II: Intaglio

Nicola Lopez

M . . . .

1:00 pm -4:00 pm

FISHER 139

PART

Open to students who have taken Intaglio I or Intro to Printmaking, this class is designed to build on students’ confidence and technical skill in the medium.  Through a series of short assignments in the first half of the semester, students will be exposed to more advanced techniques such as multiple-plate registration, printing in color and the use of different papers and will also be encouraged to experiment in order to expand on familiar techniques.  The focus of the second half of the semester will be on more ambitious projects that will be shaped by the students with the teacher’s guidance.

19341

ART 300 Cybergraphics III

Hap Tivey

. . . Th .

1:30 pm -4:30 pm

HDR 106

PART

This class will address the problem of creating objects, architecture and landscape in 3D. Our primary software packages will be Vue, Poser, and Photoshop. We will construct and texture objects and environments. Although animation is not the primary goal of the class, individual final projects may include animation. Some previous experience with 3D is suggested, but a solid working knowledge of Photoshop is required. Cybergraphics I, or permission of the instructor is a prerequisite.

19359

ART 301 Painting III

Medrie MacPhee

. . W . .

9:30 -12:30 pm

FISHER 149

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.

19364

ART 305 KF Sculpture III

Kenji Fujita

. . . Th .

1:30 pm -4:30 pm

FISHER 142

PART

Sculpture 3 is an advanced level course in which students will concentrate on four subjects that will serve as jumping off points for their studio-based work. The ideas for these four subjects will be generated by four trips that the class will take off-campus to galleries, museums and other sites of sculptural interest. These trips will serve to emphasize the importance of having direct experiences that are not completely mediated by art books, magazines and the internet. One of the goals will be to generate questions such as where does this work take place and who is it speaking to? What kinds of ideas does this work share with other work and what can be taken from these ideas to make one’s own work? Projects will involve working with a range of materials and approaches, from discrete objects made in the barn studio to site-specific installations. Four off-campus trips will be organized during the semester. (Some of the field trips may be scheduled on weekends, dates TBA). On-line registration.

19342

ART 305 KL Sculpture III: Let’s Get Physical

Kristin Lucas

. . W . .

1:00 pm -4:00 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, including: fabric, paper, wood, ceramic, glass and metal. 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.

19351

ART 307 Drawing III: Codex: Constructing a Universe, Reinventing the Wheel

Laura Battle

. T . . .

1:30 pm -4:30 pm

FISHER 141

PART

From 1976-1978, Italian architect Luigi Serafini exclusively devoted his time to illustrating the Codex Seraphinianus, an encyclopedia of an imaginary world. This remarkable volume, which includes text written in an undecipherable language, depicts surrealistic natural, man-made, and scientific worlds. Flora and fauna, machinery, food, clothing, architecture, religion, games, sports, are but a few of the subjects that Serafini reinvented in his colorful drawings. Using the Codex as a model, students will be asked to research, transform and reinvent the universe, ultimately producing their own visual 'dictionary'. This may result in a book or in an entirely original final form. Students will be asked to transform the seen world, moving back and forth from the real to the imagined. A variety of materials will be used, including printmaking as needed. We will look at numerous other artists work including Leonardo's Notebooks, Blackstock, Wolfli, Darger, and Ramirez, especially the work of other outsider artists. We will also look at Description D’Egypt, at Audubon’s drawings, the Cabinet of Natural Curiosities and other documentary texts. A trip to the Visionary Art Museum in Baltimore over January or during the semester prior to end of Spring Break will be REQUIRED, as well as a trip to the American Museum of Folk Art and Printed Matter, both in New York City. Drawing 1 and 2, or permission of the instructor required. A perfect follow up to 'Drawing from Nature'.

19355

ART 405 Senior Seminar

Medrie MacPhee

. T . . .

5:00 pm -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.