Please Note: There is a $150.00 College Fee each semester for any student
taking one or more studio art classes and/or seminars. 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 15, 2012 by 5 PM or they will be
responsible for the $150.00 College Fee.
|
12085 |
ART
100
HT
Cybergraphics I |
Hap Tivey |
. T . . . |
6:30 -9:30 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. Print Lab will
be open Fridays, 1:00-4:00 pm.
Class
size: 12
|
12416 |
ART
101
KB
Painting I: Colorama |
Ken Buhler |
. . . Th . |
10:10 -1:10 pm |
FISHER |
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
|
12410 |
ART
101
LS
Painting I |
Lisa Sigal |
. . W . . |
10:10 -1:10 pm |
FISHER 140 |
PART |
This class will be concerned foremost with
"seeing" in every sense. We will be painting
outdoors in the tradition of the Hudson School Painters, looking at many
different types of landscapes from the bucolic to the industrial. In addition
we will use our mobile easels to explore interior spaces of local institutions
and odd places on campus. We will learn how to translate
appearances of light, atmosphere and color. We will learn how to
manipulate the physical space of the painting's surface and the underlying
sensations, emotions and thoughts that go beyond simple visual translation.
Class
size: 14
|
12417 |
ART
101
LS2
Painting I |
Lisa Sanditz |
. . . Th . |
10:10 -1:10 pm |
FISHER |
PART |
The objective of this course is to
introduce students to the materiality and techniques of painting. Projects
include working from life, location, figure, collage and imagination. Classroom
time consists of demonstrations, studio work, slide lectures and group
critiques. Students will learn about the formal elements of painting such
as color, form, gesture and composition, while also exploring their own
individual style. Discussion of traditional, modern and contemporary painting
will be encouraged. Materials will cost $200-$300 for the course. Class size: 14
|
12414 |
ART
106
AG
Sculpture I: The Chair |
Arthur Gibbons |
. . W . . |
1:30 -4:30 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
|
12404 |
ART
106
JS
Sculpture I |
Julianne Swartz |
. T . . . |
1:30 -4:30 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. Class
size: 14
|
12419 |
ART
106
KF
Sculpture I: Drawing in Space |
Kenji Fujita |
. . . Th . |
1:30 -4:30 pm |
FISHER 138 |
PART |
"Sculpture 1: Drawing in
Space" is an introductory studio course in which students will investigate
the relation between drawing and sculpture by developing a studio practice that
treats drawing as a set of ideas and activities that can be used to make three-dimensional
art. Particular emphasis will be placed on direct and improvisational ways of
working. Using a range of approaches and techniques, students will explore the
different ways that simple materials can be used to make sculpture, from
constructing and sewing to casting and welding. Students will also be working
with materials from a variety of other sources: the art supply store, the
building materials center and the 99-cent shop. Class time will consist of
in-class studio work which will include demonstrations in mold making, light
carpentry and welding. Group critiques will be supplemented by presentations of
relevant contemporary art and readings. Class size: 14
|
12411 |
ART
107
KB
Basic Drawing I |
Ken Buhler |
. . W . . |
1:30 -4:30 pm |
FISHER 140 |
PART |
Drawing is considered the most basic form
of visual expression and the acquisition of drawing skills essential to all art
disciplines. The goals of this course include developing the ability to compose
the basic elements of line, shape, and value into representations of form and
space. There will be a focus on developing fluency and confidence in the
realization of visual ideas. The work in this class will be
primarily based on observation - model, interior, still life, and geometric
forms – and there will be projects that draw upon the rich history of this art
form. This course is structured to give the student an appreciation and
understanding of the elements of drawing while challenging them to develop a
respect for careful looking and thinking. Students will be evaluated on
their effort, productivity, and development. Work outside of class will be
assigned on a weekly basis. Class
size: 14
|
12409 |
ART
107
LB
Basic Drawing I |
Laura Battle |
. . W . . |
10:10 -1:10 pm |
FISHER 149 |
PART |
This class is about hard looking as a way
to link the hand and mind to things in the real world. We will exclusively work from life, (primarily
from still life, the figure and landscape as subjects), to train the eye to
look freshly at shape, form, light and space. Once some level of accomplishment
is achieved, we will talk about what it is to transform what is seen. We
will work mostly in charcoal and ink, though other materials may be explored as
we progress. Class
size: 14
|
12418 |
ART
107
LB2
Basic Drawing I |
Laura Battle |
. . . Th . |
1:30 -4:30 pm |
FISHER 149 |
PART |
See above. Class
size: 14
|
12403 |
ART
107
LS
Basic Drawing I |
Lisa Sigal |
. T . . . |
1:30 -4:30 pm |
FISHER 149 |
PART |
This
class will explore drawing in many different ways with a range of
materials throughout the semester. Our experiences in class will primarily
have to do with visual perception. By examining these experiences and
talking about them, we will attempt to transform them into homework assignments
that arise out of our thoughts and ideas. We will learn to see and think using
drawing by tipping back and forth between the senses and ideas. Class size: 14
|
12420 |
ART
109
LO
Printmaking I: Introduction to Intaglio |
Lothar Osterburg |
. . . Th . |
1:30 -4:30 pm |
FISHER 139 |
PART |
This class gives an in depth introduction to
all basic as well as some advanced processes of intaglio, from drypoint to etching and aquatint to wiping and printing. We
will also look at classic and contemporary use of intaglio by artists. Students
will apply the learned skills on projects of their own choosing. Basic knowledge of visual language and
drawing skills are required. Students must have had at least one prior art
class at Bard, or show a portfolio prior to registration. Priority will be
given to art majors. Expected material cost for this class is at least
$100. Class size: 14
|
12398 |
ART
109
NL
Printmaking I |
Nicola Lopez |
M . . . . |
10:10 -1:10 pm |
FISHER 138 |
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.
Class size:
12
|
12408 |
ART
200
HT
Cybergraphics II: The Graphic Novel |
Hap Tivey |
. . W . . |
10:10 -1:10 pm |
FISHER 138 |
PART |
This
class will address the theory, tools and techniques employed in the digital
creation of graphic/text artwork. The class will focus primarily on
printed images, alone, and in sequence with the graphic novel as a
principal arena of expression. The class will explore theories of
how realism, iconography, and cartoon illustration intersect text as an
art form. Using computer software and digital printers we will examine
various approaches to creating image/text combinations in the traditions
of graphic novels, manga, and contemporary
painting. The most important software will be Photoshop and students
must have a basic understanding of that package. Software
instruction will include more complex strategies in Photoshop as well as
introductions to Illustrator, Manga Studio, and Zax Animator. Class size: 12
|
12400 |
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
|
12406 |
ART
201
LS
Painting II: Painting Loci |
Lisa Sanditz |
. T . . . |
1:30 -4:30 pm |
FISHER 140 |
PART |
This course will explore the idea of place,
from the personal, to the local, the contemporary, and the art-historical. We
will employ disparate methods, including plein air,
site-specific, diaoramas, mapping, and a
collaborative panoramic painting, all while improving formal painting skills. Prior
painting experience required. Materials cost will be $200-$300. Class
size: 14
|
12401 |
ART
206
DD
Sculpture II: Extreme Process |
Daniella Dooling |
. T . . . |
10:10 -1:10 pm |
FISHER 138 |
PART |
This course will focus on how an artist’s
process and the qualities inherent in specific materials combine to create
works of art. Through a series of projects, we will investigate, among
other things, the history of Dada, the Duchampian
readymade, installation art, and the Process art movement of the late 60s in
relationship to contemporary art practice. In addition, we will explore notions
of collecting and archiving, communal and recycled materials, collaborative
installation, and performance as process. As part of the course, each student
will prepare and present a “teach-in” for the rest of the class. Prerequisite:
Sculpture I. Class size: 12
|
12399 |
ART
207
DD
Drawing II: Drawing as Process |
Daniella Dooling |
M . . . . |
1:30 -4:30 pm |
FISHER 149 |
PART |
While building on the techniques and
methods learned in Drawing I, Drawing as
Process will also investigate concepts and methods of process. Inherent in this investigation are a variety
of traditional and non-traditional uses of materials and techniques. Through a
series of weekly projects, we will study, among other things, the Process Art
movement of the late 60s in relationship to contemporary art practice. As the semester progresses, we will explore
process through duration, repetition, performance, and the body as a means of
production. In addition to regular drawing materials, students should expect to
purchase a variety of good quality paper as needed throughout the
semester. Prerequisite: Drawing I. Class size: 12
|
12413 |
ART
207
KF
Drawing II: Collage |
Kenji Fujita |
. . W . . |
1:30 -4:30 pm |
FISHER 149 |
PART |
“Drawing 2: Collage” is an
intermediate level studio arts course that will introduce students to collage using
a hands-on approach that emphasizes direct and improvisational processes.
First we will work in a number of mediums, using different techniques and
strategies for each one. Then we will take one idea and explore it more fully
by working in a larger scale or a more sculptural space. Time-based strategies such as stop motion
animation will also be explored. Throughout this course students will be
looking at Cubism, Surrealism, Dada and Appropriation Art as well as street art
and other forms of public work. These historical markers will serve as
references for work done in class. Class time will be spent working on
projects and critiquing finished work supplemented by in-class demonstrations,
presentations and readings. Open to qualified students by permission of the
instructor. Class size: 14
|
12402 |
ART
209
NL
Printmaking II: Woodcut |
Nicola Lopez |
. T . . . |
10:10 -1:10 pm |
FISHER |
PART |
This
course will introduce students to a variety of different relief printmaking techniques,
focusing primarily on woodcut. Through a series of hands-on projects, you
will build your technical skills in the medium and explore ways of expanding on
the ‘basic’ print by using multiple blocks, large block and modular prints, as
well as discussing the use of alternative printing materials. You will be
expected to bring your own artistic goals and vision to each project and to use
each assignment as an opportunity to challenge yourself conceptually and
visually as well as technically. Prerequisite: Printmaking I or
permission of instructor.
Class
size: 12
|
12405 |
ART
301
LB
Painting III: Horror Vaccui |
Laura Battle |
M . . . . |
1:30 -4:30 pm |
UBS |
PART |
As we inaugurate the newly renovated space
in Red Hook next to the UBS Facility, we have the opportunity to consider an
empty room as subject, muse, and context for work made therein. This course is
intended for both sculptors and painters, asking of each to be open to the
possibility of working in response to each other, and as collaborators in
defining a particular place, empty at the start and gradually becoming
full. Students will be expected to work
with great independence, defining projects in consultation with the instructor.
This course is intended for moderated studio art majors and students who have
completed a second level studio art course. By
permission of instructor. Class
size: 12
|
12415 |
ART
305
JP
Sculpture III |
Judy Pfaff |
. . . Th . |
10:10 -6:00 |
FISHER |
PART |
This is an all day class that will include
some trips to
|
12412 |
ART
307
MM
Advanced Drawing: Drawn and Quartered |
Medrie MacPhee |
. . W . . |
1:30 -4:30 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: 12
|
12421 |
ART
310
LO
Printmaking III: Photogravure |
Lothar Osterburg |
. . . . F |
10:10 -1:10 pm |
FISHER 139 |
PART |
This class will give an introduction to
the 19th century process of the copperplate photogravure. Photogravure is a
truly continuous tone photographic intaglio process with a rich tonal range.
Etched into a copper plate, printed as an etching, photogravure bridges the gap
between photography and printmaking. As with any other technically
complex process it can be expected that not all results are acceptable.
Students will learn subtle retouching and bold reworking techniques to achieve
a satisfactory end result, and will be introduced to the historic significance
and contemporary application of this process. On several occasions this class
will collaborate with Laurie Dahlberg’s “ARTH/PHOT 212 The
Handmaiden’s Tale: Photography and Fine Art” during which other related
alternative photographic processes will be introduced. This will be a demanding class in material, expenses and time dedication.
This is a 5 to 6 hour class no matter what the course book says. Potluck
lunch is planned every week. Expect to spend between $300,-
and $400.- in material. Prerequisites: PERMISSION BY INSTRUCTOR ONLY!
E-mail Prof. Osterburg ahead of the registration
period at [email protected] Class size: 14
|
12407 |
ART
405 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.