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 11, 2015, 5 PM or they will be charged and responsible for the $150.00 Department Fee.

15124

ART 100 AC Cybergraphics

Adriane Colburn

. T . . .

1:30pm-4:30pm

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 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

15125

ART 100 HT Cybergraphics

Hap Tivey

. . . Th .

10:10am-1:10pm

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

15229

ART 102 KB Painting I

Ken Buhler

. . W . .

10:10am-1:10pm

FISHER 140

PART

Instruction in this class emphasizes the acquisition of a basic visual vocabulary of painting while recognizing a wide range of individual interests and strengths among students.    The students pursue assignments that focus their attention on issues such as value contrast, warm and cool contrast, creating tonality, understanding the expressive and structural possibilities of the materiality of paint, as well as how all of these elements factor in the composition of form and space.  The projects are sequenced in a way that the students move from a simple dialogue of light and dark and gradually begin to incorporate a fuller range of elements from the vocabulary of painting during the semester.  Assignments are designed to promote a recognition that expression in painting is rooted in its form – color, light, materiality, composition, etc.  While much of the work will be done from observation - still life, landscape (weather permitting) and model - there will be assignments that incorporate abstraction as well. There are no prerequisites for this studio class.  Class size: 14

15218

ART 102 LB Painting I

Laura Battle

M . . . .

10:10am-1:10pm

FISHER 149

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

15226

ART 102 MM Painting I:Soup to Nuts

Medrie MacPhee

. T . . .

1:30pm-4:30pm

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: 12

15231

ART 106 AG Sculpture I: THE CHAIR

Arthur Gibbons

. . W . .

10:10am-1:10pm

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 shop’s tools and techniques.

An illustrated survey of the history of sculpture will be presented throughout the semester. Class size: 14

15238

ART 106 AG2 Sculpture I: THE CHAIR

Arthur Gibbons

. . . Th .

10:10am-1:10pm

FISHER 138

PART

See above. Class size: 14

15224

ART 106 JS Sculpture I

Julianne Swartz

. T . . .

10:10am-1:10pm

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

15235

ART 106 KF Sculpture I

Kenji Fujita

. . W . .

1:30pm-4:30pm

FISHER 138

PART

Sculpture 1 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

15233

ART 108 JG Drawing I

Jeffrey Gibson

. . W . .

1:30pm-4:30pm

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 media. 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

15228

ART 108 MM Drawing I:Walking the Line

Medrie MacPhee

. . W . .

10:10am-1:10pm

FISHER 149

PART

For the artist drawing is discovery. A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. (John Berger). During class time we will primarily work from life and explore the tools that will aid in this discovery. Line, shape, value, gesture, perspective, volume, composition and space form essential drawing skills that create the basis for translating 3D into 2D. These developing skills also translate conceptually and imaginatively into discovering a voice of ones own. Homework projects will be both based on looking and imagining and employ a wide variety of drawing materials. Significant work outside of class and a willingness to participate in class critiques and discussions is a must. Class size: 14

15239

ART 109 RS Printmaking I

Robert Swainston

. . . Th .

10:10am-1:10pm

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

15236

ART 200 AC Cybergraphics II

Adriane Colburn

. . W . .

1:30pm-4:30pm

FISHER 161

PART

This course will focus on expanding a student’s studio practice by incorporating processes that fluctuate between the digital and handmade.  An emphasis will be placed on inventing unique hybrid techniques through the collision of digital tools  (Adobe creative suite, basic video editing) and manual fabrication (drawing, collage, installation).  Through a series of projects rooted in large format, laser and 3D printing, we will lure digital processes out of the box and into the tactile world.  Prerequisite: Cybergraphics I or by permission of the instructor. Class size: 12

15219

ART 202 JS Painting II: Transitions

Joseph Santore

M . . . .

1:30pm-4:30pm

FISHER 140

PART

Transitions: 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: 12

15234

ART 202 LB Painting II: Abstraction

Laura Battle

. . W . .

1:30pm-4:30pm

FISHER 140

PART

This course will introduce students to the forces at work in painting as conveyers of meaning when ‘the nameable’ takes 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. Please be aware that materials for this class are costly. Class size: 14

15223

ART 202 LS Painting II: Materials

Lisa Sanditz

. T . . .

10:10am-1:10pm

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 all 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: 12

15232

ART 206 ED Sculpture II: Site + Specific

Ellen Driscoll

. . W . .

1:30pm-4:30pm

UBS

PART

Cross-listed: Environmental & Urban Studies Mining the historical moment of the late sixties and early seventies Site + Specific will look at the first Earthworks and attendant writings by Robert Smithson, Michael Heizer, Nancy Holt, and others, and look at the evolving relationships of sculpture to landscape and architecture in the ensuing decades, as it expanded far beyond gallery spaces and situated itself in the desert, the mountain, the slum, and the corporate tower. Our focus however will be on learning how to assess a site, to create a proposal that is coherent and do-able, and then to build temporary site based works in a collaborative team structure with a particular emphasis on ecologically sound approaches to sculptural intervention in specific sites. Class size: 12

15240

ART 206 KF Between Painting & Sculpture

Kenji Fujita

. . . Th .

1:30pm-4:30pm

FISHER 142

PART

In this level two Studio Art class students will make artworks that speak to the language of both painting and sculpture. This hybrid approach will be hands-on and will involve 3-dimensional form making, painting and collage. Assignments will be formed around a 20th Century narrative that includes painted constructivist wall sculpture, cubist reliefs, assemblages, specific objects and sculptural props. Ideas explored will include sculpture that depicts pictorial space, the materiality of color and the site as ground for the sculptural figure. Class time will consist of working on projects, group critiques, presentations, readings and discussions of relevant work as well as demonstrations in materials and techniques. Class will take place in the Fisher Studio Barn. Open to all qualified students. Class size: 14

15221

ART 208 DD Drawing II: DRAWING THROUGH Observation

Daniella Dooling

. T . . .

10:10am-1:10pm

FISHER 149

PART

Leonardo da Vinci said, “to learn to draw is to learn to see.” This course will explore traditional and contemporary approaches to drawing through an intensive investigation of the human figure, natural forms, and direct observation. Class will meet at different locations during the beginning of the semester, including the laboratories in the RKC. A wide variety of materials and techniques will be explored through in-class studies. These materials and techniques will be further investigated through a series of drawing assignments using direct observation and/or the student’s personal iconography as subject matter. We will look at old master drawings and contemporary artists throughout the semester. Homework assignments will become increasingly more conceptual and individually personalized as the semester progresses. Class size: 14

15225

ART 208 LB Drawing II: Mixed Media; WORKS ON PAPER

Laura Battle

. T . . .

1:30pm-4:30pm

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

15237

ART 209 RS Printmaking II

Robert Swainston

. . W . .

5:00pm-8:00pm

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 ‘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

15478

ART / PHOT 230 BOOKMAKING FOR VISUAL ARTISTS AND PHOTOGRAPHERS

Tanya Marcuse

M . . .

10:10am-1:10pm

WOODS

PART

See Photography section for description.

15230

ART 300 HT Cybergraphics III

Hap Tivey

. . W . .

10:10am-1:10pm

FISHER

PART

This class will address production and display of Internet based artwork. Each assignment will deal with projects that require no physical existence. We will address graphic novels, large-scale sculpture, and urban painting as examples of artworks that exist as virtual presentations of potentially physical objects. We will also explore projects that require no foundation in physical manifestation, such as game or social media manipulation and concept driven imagery based on data mining and mapping. Each project will be presented and evaluated in a class website. Basic skills in video editing and website management are recommended. Cybergraphics I or equivalent Photoshop skills are required. Class size: 12

15222

ART 302 JG Painting III

Jeffrey Gibson

. . . . F

10:10am-1:10pm

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, selected readings and discussion about contemporary painting. Students will be challenged to push the content and format of their paintings, to experiment with materials and scale, and to practice speaking about their work and the work of their peers. 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. Students must commit to working independently on their paintings outside of class time. Prerequisites: Painting II Class size: 12

15220

ART 305 JS Sculpture III: Interactive Strategies: sound, action, participation

Julianne Swartz

M . . . .

1:30pm-4:30pm

FISHER 142

PART

How can an audience complete an artwork? This class will explore the possibilities of interactivity in sculpture and installation, investigating the boundaries between artist, object, site 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 tactics of object and event making. We will focus on sound as both strategy and medium and learn basic skills of recording and editing, as well as techniques to incorporate sound into a sculptural object. Using a variety of materials and techniques, we will create works that are viewer activated, experimental and participatory in nature. Prerequisites: Sculpture 1 and any 200 level arts course.

Class size: 12

15217

ART 308 JS Drawing III: Focus

Joseph Santore

M . . . .

10:10am-1:10pm

FISHER 140

PART

Focus: a Drawing III class for students who seriously want to pursue work with the figure and who have already taken my 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 would be devoted to studying value by using black and white acrylic while painting portraits from life and from reproductions.  Some poses would extend for two weeks.  Students would work in different sizes and on different kinds of paper so that they could 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

15241

ART 310 LO Photogravure & PHOTOGRAPHIC Printmaking TECHNIQUES

Lothar Osterburg

. . . . F

10:00am-4:00pm

FISHER 139

PART

Working with traditional and contemporary photographic printing processes this class will focus on the most beautiful and challenging of all: Photogravure. The class will put this process into an historic context, explore its contemporary use and its historic significance. From there we will explore a number of photographic processes that look at the bridge between traditional printmaking and photographic processes. Processes will include carbon and gum dichromate printing, photopolymer plates as well as some faster, cheaper and easier ways of photographic printmaking that will include use of xerox and inkjet printing. We will also explore ways to combine photographic and non photographic elements into a single work. This class will require a great commitment in time, effort, investment into materials, and presence in class.  We will meet for 6 hours every Friday which will include a potluck lunch. The process will require a lot of practice, patience and planning. Expected cost is between $150. - 250. Prerequisites: Print 1 or Photo 1 (Photo for non majors), or by permission of the instructor. Class size: 12

15227

ART 406 KB Senior Seminar

Ken Buhler

. T . . .

5:00pm-7:00pm

FISHER SEMINAR ROOM

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 a 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: 25