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, February 12, 2014, 5 PM or they will be charged and responsible for the $150.00 Department Fee.

11425

ART 100 HT Cybergraphics

Hap Tivey

. . . . F

10:10 -1:10 pm

HDR 106

PART

This class provides an introduction to digital graphic software that can enhance studio projects for artists.  It will depend primarily on Photoshop with the first half of the semester devoted to creating prints from manipulated images.  The class will also explore basic video creation and manipulation using Adobe tools in Flash, Photoshop, and basic Illustrator filters.  The final four weeks will be devoted to an individual project designed and executed by each student.  Open to all students, preference given to studio art majors or students intending to major in studio art. Class size: 14

11403

ART 102 JG Painting I

Jeffrey Gibson

. . W . .

10:10 -1:10 pm

FISHER 140

PART

For students who have had virtually no experience with painting or need a brush-up.  Lectures, demonstrations, critiques, exercises and assigned projects will provide students with a basis in the fundamentals of painting.  Focusing on color mixing, color theory, volume, composition and different approaches to paint application will culminate in increasingly complex approaches to image making as the semester progresses. Lectures and discussions of artists and movements current and historical will be presented in an effort to contextualize your own work and style within a historical continuum of art making.  Work will be done primarily using oil paint and mediums on a variety of supports including wood, canvas and paper.  The class will focus on observational painting, but also include painting from other source material and from your imagination.  Class size: 14

11404

ART 102 LS Painting I: Location, Location, Location

Lisa Sanditz

. T . . .

10:10 -1:10 pm

FISHER 140

PART

Through an exploration of different locations including off-campus site visits, plein-air painting, making dioramas and painting place from memory, we will also tackle the fundamental formal aspects of painting such as color, form, gesture and composition. Classroom critiques will promote each student's capacity for dialogue about art. Additionally, familiarity with traditional, modern and contemporary painting will be encouraged. Additional materials fee $150-$200. Class size: 14

11968

ART 102 JG Painting in the Round

Jeffrey Gibson

M . . . .

5:00 -8:00 pm

FISHER 149

PART

This course will introduce students to various methods used by historic, modern and contemporary artists to combine the formal elements of both painting and sculpture.  Students will create artworks that combine painting, drawing, assemblage, collage and found object sculpture. Students will also learn about interdisciplinary artists, through brief illustrated lectures and artists’ writings, whose practices relate formally and conceptually to the assignments given. Class size: 12

11875

ART 106 JC Sculpture I

James Clark

. . . . F

1:30 -4:30 pm

FISHER 138

PART

Sculpture One is an introductory class that focuses on individual students’ quest in developing an awareness to materials. During the semester, young creators will be working with plaster, metal forming/welding, plastics and wood shop techniques.  Each student will be researching through personal investigation and reflecting by sharing examples of mature sculptors in their creative processes.  The group will be developing their own mixed media projects in the environment using information that they have been exposed to. Sculpture One objective is to expose the students to the wide range of disciplinary approaches in their search for visual form. Class size: 14

11414

ART 106 JS Sculpture I

Julianne Swartz

M . . . .

10:10 -1:10 pm

FISHER

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

11868

ART 106 KF Sculpture I

Kenji Fujita

. . W . .

10:10 -1:10 pm

FISHER 138

PART

Sculpture 1 is a studio arts course in which students 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

11416

ART 106 MG Sculpture I

Marc Ganzglass

. . . . F

10:10 -1:10 pm

FISHER 138

PART

Artists are constantly developing their technical skills as their work and intellectual curiosity changes and evolves over time. In this introductory course we will focus on learning essential skills that will provide students with a solid foundation from which they can aim their future artistic practice.  We will cover a broad range of materials and processes including an in-depth study of techniques in wood and metal (welding and fabrication), mold making and casting in clay, plaster and cement as well as working with fabrics, plastics and non-traditional materials. We will pay special attention to developing hybrid projects that combine traditional sculptural technique with new media, photography, video, sound and installation. Through lectures, discussions and frequent critiques students will learn about a broad array of contemporary artists and the conceptual and historical foundations that drive their work. Class size: 14

11408

ART 108 DD Drawing I

Daniella Dooling

. T . . .

10:10 -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. 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

11409

ART 108 LB Drawing I

Laura Battle

. . . Th .

10:10 -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

12337

ART 108 LB2 Drawing I

Laura Battle

. . W . .

1:30 -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

11874

ART 109 KL Printmaking I

Kakyoung Lee

. . . . F

10:10 -1:10 pm

FISHER 139

PART

Printmaking I is designed to introduce students with wide arranged techniques of printmaking. Focusing mainly on monotype, woodcut, and intaglio, students will investigate the ways in which a subject can be visually expressed using the traditional printmaking techniques through studio assignments and discussions of imagery, composition, and thematic contents.  Demonstrations, critiques, and readings will be included alongside regular studio time. There are no pre-requisites for this class. Class size: 14

11421

ART 109 LO Printmaking I: Introduction to Intaglio (Etching)

Lothar Osterburg

. T . . .

10:10 -1:10 pm

FISHER 139

PART

This class gives an in depth introduction to the terminology of all the basic and some advanced techniques of intaglio (etching).  Drypoint, scraping, burnishing hard and soft ground etching and aquatint techniques and combinations thereof, as well as wiping and printing will be covered. The class will consist of a large amount of technical instruction and demonstrations, complemented by the critiques and art historical references. Original prints as well as reproductions will provide a historic background to printmaking and show how artists have used these techniques throughout the centuries. Please plan on spending about $100.00 on material and tools for the class. Priority will be given to art majors. Class size: 12

11949

ART 122 MG Architectural Inventions

Max Goldfarb

. . W . .

10:10 -1:10 pm

FISHER 141 / 161

PART

Cross-listed: Experimental Humanities Architectural Inventions is a studio course starting with drawing as a mode of imagining and of developing new forms of architecture through image and concept. We will begin the process of envisioning structures 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, open and accessible to students in any discipline. 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 an array of past and living examples through the presentation of projects, text, film 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. The course will lead towards a final project: a proposal for situating your program in a specific site, in the form of developed research that can include a range of materials; found (historic, inspirational) images, text, original drawings, diagrams, objects, maps, models and other relevant artifacts. Class size: 12

11426

ART 200 HT Cybergraphics II

Hap Tivey

. . . Th .

10:10 -1:10 pm

FISHER

PART

This class will be devoted to advanced applications of graphic software tools.  Photoshop will be at the center of all class work. Various strategies for generating and altering images and structures will be explored both within Photoshop and in conjunction with other software.  The second half of the semester will incorporate 3D procedures and end with emphasis on individual projects. Open to students who have completed Cybergraphics I or have permission from the instructor. Class size: 14

11405

ART 202 JS Painting II: Transitions

Joseph Santore

M . . . .

1:30 -4:30 pm

FISHER 140

PART

For serious painters who are interested in painting abstractly. Students will begin by working with simple geometric forms (triangle, circle, rectangle, and square) and use these forms to create structures that could become the basis for complex paintings.  Students will work on a large scale, using charcoal and mixed media, (tape, black and white acrylic, cut paper, cardboard) to explore the endless possibilities of building geometric relationships and complex spatial structures.  They will explore how materials could be used to create mass and weight on the picture plane attempting to build images that have monumental scale.  Students will attempt to work toward creating large scale paintings incorporating color into the mix and various kinds of painting materials.  Students will be encouraged to experiment and have fun with the way they use materials and develop images.   Class size: 14

11873

ART 202 KF Painting II: The Object of Painting

Kenji Fujita

. . . Th .

1:30 -4:30 pm

FISHER 142

PART

It has been said that painting is an open window through which a subject is to be seen. It's also true that the windows we look through are themselves objects to be looked at. In this level two painting class, students will explore forms of painting that move between the window and the object. Relief paintings, painted wall sculpture, specific objects and other hybrid forms of two-dimensional art that's been reset in three-dimensional space will be the subject of this class as students work with paint on canvas and constructed wood structures and use materials such as fabric, yarn, cardboard, plaster, chicken wire, burlap, and found objects. Class will be held in the Fisher Studio Arts Barn. Group critiques of weekly and bi-weekly projects will be supplemented by demonstrations in materials and techniques, presentations of related modern and contemporary artwork and discussions of readings.

While some of the materials for this class will provided by the department, students will be expected to come to class with their own basic painting supplies.  This class is open to students who have taken either Painting 1 or Sculpture 1. Class size: 14

11406

ART 202 LB Painting II: Abstraction

Laura Battle

. . W . .

1:30 -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

11871

ART 206 ED Sculpture II: Presence and Absence

Ellen Driscoll

. . W . .

1:30 -4:30 pm

FISHER 138

PART

Cross-listed: Human Rights Throughout time, sculptors have been engaged in the act of commemoration—in public monuments of generals on horseback, to the family dog sculpted in marble on a tombstone. Over centuries, the discipline of sculpture has honed an uncanny and unique ability to make present what is not there.  While the drive to commemorate is unabated, the strategies and approaches to this basic sculptural act have recently undergone seismic shifts. Students will learn about the diverse and rich terrain of contemporary memorials including those addressing recent wars, and contested political leaders.  In tandem with the research platform of the class, students will create a series of public art proposals which act as dialogical responses to existing works, a series of proposals which respond to existing calls from around the world for commemorative work, as well as simple sculptural explorations which explore the poetic sculptural dialectic of absence and presence. Technical skills in wood, metal, computer driven technologies, and more will be pushed and developed as part of this course. Class size: 14

11872

ART 206 MG Sculpture II: Artwork That Works

Marc Ganzglass

. . . Th .

1:30 -4:30 pm

FISHER 138

PART

From utilitarian forms such as furniture and architecture, to graphic-design and textiles, to happenings and web based projects, artists have used a broad array of media and tactics to create artworks grounded in everyday use and activity. In this class we will approach art-making as tool-making, developing projects that look as much towards the function of a thing as to its aesthetic qualities. What are the parameters that guide this type of art-making, and how do we measure the usefulness of an artwork? We will investigate this spectrum of use-value through a series of projects that span the practical to the theatrical. Through object making and social sculpture, documentary and performative works, students will develop a line of critical inquiry across a variety of disparate medium. Critiques will play a central role in this class and our work in the studio will be supplemented by lectures, field trips and discussions surrounding contemporary artists working with utility in its many forms. Pre-requisite: Sculpture 1 or by permission of the instructor. Class size: 14

11411

ART 207 LB Drawing II: Mixed Media; Works on Paper

Laura Battle

. T . . .

1:30 -4:30 pm

FISHER 149

PART

This course will give students fundamental and 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. Class size: 14

11423

ART 210 LO Printmaking II: Experimental Printmaking

Lothar Osterburg

M . . . .

1:30 -4:40 pm

UBS / FISHER 139

PART

Primarily held at Bard’s UBS facility in Red Hook in a newly set up printshop, this class will be able to spread out and go larger than is possible at the Fisher printshop. The class will focus mainly on non-etching techniques such as woodblock and collograph, will question the traditional notion of printmaking and it’s traditional components (paper metal, wood and ink) and utilize other resources available at Bard such as the laser cutter. During the first part of the semester assignments will explore the question of what constitutes a print through a mix of technical exploration and theoretical assignments, then will develop their own print based projects. Class size: 10

11407

ART 302 KB Painting III: Afterimage

Ken Buhler

. . W . .

10:10 -1:10 pm

UBS

PART

This class offers each student the opportunity to deeply explore and expand their personal painting interests. One of its goals is to help students locate ideas essential to their art and develop those ideas in the processes of painting. Instruction will be through individual guidance, class critique, and assignments. Assignments are structured to allow students to evolve their painting vocabulary. They will include prompts from the external world, from the history of painting, and from students’ own experience. The thematic development of paintings and the incorporation of new materials and processes will be a part of this focus. The availability of a printing press in the classroom will allow students to utilize transfer, repetition, and multiplication of images as part of their vocabulary, should they choose to. Students will be expected to have specific intentions in place regarding their individual pursuits. Though there will be assignments, there will be a great deal of emphasis placed upon developing independent resources in the studio. Material requirements will be in response to the particular needs of each exploration, but students will be expected to acquire materials and surfaces to work on as needed. Prerequisites: Painting I and Painting II. Class size: 12

11869

ART 305 DD Sculpture III: Studio Practice

Daniella Dooling

M . . . .

1:30 -4:30 pm

FISHER 142

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. Several artists’ studio visits will also be scheduled throughout the semester. Prerequisites are Sculpture I and Sculpture II. Class size: 12

11420

ART 305 JP Art Talk

Judy Pfaff

. . . . F

10:10 -6:00 pm

UBS

PART

Art Talk has two components. In the first component we will take trips to New York City where we will be going to museums, galleries and studios followed by a written review of either a show, a single work, or a comparison of all shows seen on that day. In the second component during the interim weeks we will use our space in UBS to install group shows, consisting of painting, sculpture or new media.  Every two weeks new work will be brought into the space or made in-situ.  We will consider all the issues of installing a group show, lighting, options of hanging and hanging systems and curating will be discussed. The new UBS space is not a white box but in fact, a barn which offers options different than the usual gallery situation.  Works on a different scale and in a different kind of space should be addressed.   Each show will be evaluated and critiqued. Class size: 10

11867

ART 308 JS Advanced Drawing: Focus

Joseph Santore

M . . . .

10:10 -1:10 pm

FISHER 140

PART

A class for students who seriously want to pursue work with the figure and who have already taken Prof. Santore’s Drawing II class or a similar class that stressed structure. Students will draw from life focusing on the figure.  They will also study and work from great drawings and paintings throughout history, especially portraits.  Students will be drawing with charcoal, pencil, acrylic and mixed media.  A section of the class will be devoted to studying value by using black and white acrylic while painting portraits from life and from reproductions.  Some poses will extend for two weeks.  Students will work in different sizes and on different kinds of paper so that they can experience the intimacy of making small pencil drawings on heavy watercolor paper and large scale drawings on paper that they can erase often and beat up.  We will attempt to make drawings of the figure that are as alive and relevant today as they were throughout the history of art. Class size: 12

11424

ART 310 KL Printmaking III: Extended Media in Printmaking

Kakyoung Lee

. . . Th .

1:30 -4:30 pm

HDR 106

PART

Extended Media in Printmaking will encourage students to expand their artistic vocabularies to create two time-based media, utilizing various printmaking techniques: intaglio, monotype, woodcut, plus sound, and performance. Through intensive hands-on assignments and computer program exercise, students will create thematically two finished projects, a moving image and an artists’ book.  Demonstrations, critiques, readings, and discussions will be included alongside regular studio time computer lab. Students will be asked to consider content, sequencing, pace, and rhythm in their projects.

Class size: 10

11675

MUS / ART 321 Sculpture & Electronic Music: Sound as a Sculptural Medium

Robert Bielecki / Julianne Swartz

. T . . .

1:30 -4:30 pm

UBS

PART

Cross-listed: Music, Studio Art This course will explore methods of physicalizing sound through the creation of installations and objects. We will examine unconventional techniques including acoustic and non-electronic methods of generating, focusing and amplifying sound. Certain projects will utilize sculptural processes such as casting and laser engraving. Technical demonstrations, field trips, and slide discussions will inform our study.  We will examine artists who use sound as a material, and discuss their strategies in relation to object making and sound in/as architecture. A final project will be the culmination of the semester's activities, combining creative artistic and technological disciplines in individual and/or collaborative works. 

Class size: 15

11427

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 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. Class size: 20