Please Note: There
is a $150.00
|
16141 |
ART
100 AC Cybergraphics: FABRICATED LANDSCAPES |
Adriane Colburn |
T 1:30 pm-4:30 pm |
HDR 106 |
PART |
Cross-listed:
Environmental & Urban Studies This course is an introduction to digital image creation and
manipulation for display in print and on screen. With Adobe Photoshop and
Illustrator at the center, we will explore the possibilities of creating
imagined and composite landscapes that are feasible only through digital
fabrication. As inspiration we will look at the ways that human
intervention has transformed our physical world world
through garden design, suburban sprawl, urban grids, mining sites, managed
forests, zoos, constructed waterways and earthworks. In addition, we will
survey a range of contemporary artists who are wrestling with the human impact
on our biosphere. Coursework will foster a body of work consisting of
on-line sketchbooks, site-specific installation, digital collage, gifs, large
scale printing and laser cutting. These projects will emerge out of a series of
exercises that will build image making skills and establish a digital workflow.
Class size: 14
|
16264 |
ART 102
JG Painting I |
Jeffrey Gibson |
W 10:10 am-1:10 pm |
FISHER 140 |
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
|
16258 |
ART 102
LS Painting I: LOCATION,
LOCATION, LOCATION |
Lisa Sanditz |
T 10:10 am-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
|
16260 |
ART 102
MM Painting I: SOUP TO NUTS |
Medrie MacPhee |
T 1:30 pm-4:30 pm |
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: 14
|
16255 |
ART 106
DD Sculpture I |
Daniella Dooling |
M
1:30 pm-4:30
pm |
FISHER 138 |
PART |
Through
an exploration of materials, process, and site, Sculpture I will address
several ideas relevant to contemporary art.
These ideas will be explored through a series of projects, introduced
through readings, image presentations of historical and contemporary art, and
class discussion. In addition, each project will focus on a specific material
and technique including woodshop, mold making, casting, and welding. Class
size: 14
|
16273 |
ART 106
ED Sculpture I |
Ellen Driscoll |
Th 1:30 pm-4:30 pm |
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
|
16252 |
ART 106
JS Sculpture I |
Julianne Swartz |
M
10:10 am-1:10
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
|
16256 |
ART 108
DD Drawing I |
Daniella Dooling |
T 10:10 am-1:10 pm |
FISHER 149 |
PART |
The
emphasis of this course will be the study of drawing as a tool for articulating
what the eyes, hand, and mind discover and investigate when coordinated. During class time, we will primarily work
from life, forms from nature, and the still life in order to give students
fundamental and essential drawing skills. Line, shape, value, gesture, volume, weight,
composition and space form the basis for translating from 3D to 2D, and these
will each be covered through weekly homework assignments and readings. A wide range of drawing materials will be
introduced. Class size: 14
|
16266 |
ART 108
KB Drawing I |
Kenneth Buhler |
W 1:30 pm-4:30 pm |
FISHER 149 |
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
|
16262 |
ART 108
KF Drawing I |
Kenji Fujita |
W 10:10 am-1:10 pm |
FISHER 149 |
PART |
Josef
Albers said that he wanted to "open eyes". This course will introduce
students to drawing as a way to explore different ways of seeing. Students will work in a range of mediums,
techniques, processes and approaches. The emphasis will be on both traditional
and experimental aspects of drawing. Students will work inside and outside of
class on assignments that deal with form, space, gesture, mark, line and image
with the goal being the development of work that draws on both observation and
the imagination. Class time will be used to both work on in-class projects
(drawing from the still life and the model as well as other activities) as well
as to critique finished assignments. Demonstrations in materials and techniques
will be given along with readings and presentations of artists whose work is
related to themes addressed in the course.
Class size: 14
|
16274 |
ART 109
BG Printmaking I: Intaglio / Relief |
Beka Goedde |
F 10:10 am-1:10 pm |
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, monoprint, 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
|
16257 |
ART 109
LO Printmaking I: INTRO TO Intaglio |
Lothar Osterburg |
T 10:10 am-1:10 pm |
FISHER 139 |
PART |
Goal
of this introductory class is to give students a solid foundation to the
terminology and methods of intaglio (etching), from drypoint,
etching and aquatint to wiping and printing. The class will consist of a
large amount of technical instruction and demonstrations, complemented by
the introduction of artistic methods. Original prints as well as reproductions
will provide a historic background to printmaking and show how artists
have used these techniques throughout the centuries. Artistic critiques will complement the
technical aspect of the class. Please count on spending about $100.- on material and tools for the class. Class
size: 12
|
16263 |
ART 150
DM Extended Media I |
Dave McKenzie |
W 10:10 am-1:10 pm |
FISHER |
PART |
The
expansion of Art’s definition means that the terms used to categorize works of
art are often technically incorrect—e.g. film used to categorize films not shot on the medium of film.
These same terms point to the incredible proliferation of tools and techniques
that are becoming readily available to large segments of the population.
Through readings, critiques, and assignments we will explore artistic practices
that have stretched previous categories while creating new categories—such as
social practice, post-media, and post-internet art. Extended Media 1
will be grounded in art historical precedents, but students will be introduced
to a number of recent technologies and working methods outside the traditional
narratives of painting and sculpture. Assignments and instruction will explore
various and varied forms of construction—from creative writing and performance
to site interventions and virtual installations. Emphasis will be placed on the
development of ideas and strengthening one’s ability to critique not only the
work of art but also the tools and techniques used to make it. Class size: 14
|
16267 |
ART 200
AC Cybergraphics II:
iNTERMEDIA mAPPING |
Adriane Colburn |
W 1:30 pm-4:30 pm |
FISHER |
PART |
This is an advanced level studio art course
that will focus on exploration and the invention of processes that merge
the digital and the physical world.
Through projects that engage the mapping of both
real and imagined environments, we will generate a series of artworks that
question how and why we visualize the world around us, from physical spaces to
the inner landscapes of the mind. Curriculum is designed to be an
open platform that fosters individual projects and the unique interests of class
participants. An emphasis will be placed on research and
the invention of hybrid artworks through the collision of digital
tools (Adobe creative suite, Laser cutter, 3D
printer, large format printing, basic video editing) and complementary disciplines.
(writing, drawing, collage, installation, projection,
performance, sound) Through a series of projects rooted in
experimentation and creative inquiry, we will lure digital processes out of the
box and into the tactile world. Prerequisite: Cybergraphics I or instructor
permission. Class
size: 14
|
16253 |
ART 202
JS Painting II: The Figure |
Joseph Santore |
M
1:30 pm-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: 14
|
16265 |
ART 206
ED Sculpture II: Fluid
Dynamics |
Ellen Driscoll |
W 1:30 pm-4:30 pm |
FISHER 138 |
PART |
Cross-listed:
Environmental & Urban Studies A drop of water is a lens. Through this “fish eye” lens, the
class will explore the subject of water as sculptural terrain. We will focus locally on such sites as your
body, your campus--- including wastewater systems, the Sawkill
and the
|
16259 |
ART 208
JG Drawing II: ANALOG TO
DIGITAL AND BACK AGAIN |
Jeffrey Gibson |
T 1:30 pm-4:30 pm |
FISHER 142 |
PART |
This Drawing II class will explore the intersection of
digital printing and traditional drawing techniques. Students will work with
found and self-produced images that have been manipulated using Photoshop, and
then incorporate them into larger works on paper or other 2-D surfaces.
Assignments will include digital image manipulation, experimentation with
printing on various materials, experimentation with alternative drawing
materials and processes, exploring the concept of the multiple, and ultimately
developing a body of work that reflects relationships between digital and
analog drawing processes. This class will take place in the Fisher computer lab
and in the Barn. Students should have some working knowledge of Photoshop and
have completed Drawing I one other Studio Arts class. Class
size: 14
|
16272 |
ART 209
BG Printmaking II : PRINT AS
MATERIAL |
Beka Goedde |
Th 1:30 pm-4:30 pm |
UBS |
PART |
In
this course we print material in order to compose and assemble large-scale
drawings, works on paper and prints in series. Print II artists are encouraged
to print images through a mix of traditional, photomechanical, and experimental
print processes, expanding our experience working on and with paper. We create
material through watercolor monotype, chine collé, collograph, mokuhanga woodblock
printing, and screenprinting. Gluing and cutting
techniques, laser etching and inkjet printing are also introduced. Due to
extensive demos, the need for personalized assistance and its location
in UBS, it is desirable that students are able to stay late and do not
schedule a class starting at 1:30pm. On occasion, this class will meet in
the Fisher digital labs on the main campus. Prior printmaking experience
is recommended, but not essential. Permission of instructor is
required. Allow $100 to $150 for materials and tools. Class size: 12
|
16254 |
ART 209
LO Printmaking II: RELIEF
PRINTING FROM TRADITIONAL TO DIGITAL |
Lothar Osterburg |
M
1:30 pm-4:30
pm |
FISHER 139 |
PART |
Relief
printing is the oldest kind of printmaking, yet it is continuing to evolve. The
process is simple and direct, allowing for quick image generation. Starting
with traditional techniques using wood and linoleum, we will explore various
color printing methods – multiple plate, color reduction, “jigsaw”, chine colle – use of alternative
materials as well as digital and photographic plate making options – laser
cutter, CNC router and photopolymer plates for the letterpress. The marks from
all tools that will be available to us will range from expressive to precise.
The class will utilize the printshop, digital lab and
woodshop. Prior printmaking experience is not essential, but permission of
instructor is required. Allow $100 to $150 for materials and tools. Class size: 12
|
16270 |
ART 250
Extended Media II |
Dave McKenzie |
Th 1:30 pm-4:30 pm |
FISHER |
PART |
This
is an advanced class, meant to encourage individual projects, questions, and
approaches. As such, it follows a workshop model, and we will be using the
languages and attitudes of performance art as a general methodology. Students
will be encouraged to propose and pursue self-generated assignments alongside
the required class assignments. In class, we will explore movement based
thinking alongside alternative strategies of object making in an effort to
remain flexible and even uncomfortable. Special attention will be paid to work
that incorporates time-based media, installation, writing, and digital
technology. Group and individual critiques will lead students along a path to determining
their own approach to the expanding field of art production, and at the end of
the course students will have a greater understanding of how to shape their own
vision and use their own voice.
Prerequisites:
Permission of the instructor. Class size:
14
|
16269 |
ART 302
KB Painting III |
Kenneth Buhler |
Th 10:10 am-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:
14
|
16268 |
ART 305
JS Sculpture III: Sound AS A
SCULPTURAL MEDIUM |
Julianne Swartz Robert Bielecki |
W 1:30 pm-4:30 pm |
UBS |
PART |
Cross-listed: Music 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:
14
|
16271 |
ART 308
KF Drawing III |
Kenji Fujita |
Th 1:30 pm-4:30 pm |
FISHER 142 |
PART |
Drawings
can show us how a vision or idea can be transformed from the imagination to the
surface of a piece of paper, capturing the tension between the fleeting idea
and the material evidence that we are left with. In this course, which is a
hands-on mixed media drawing class, we will examine how facts and fictions
frame the ways we approach the drawing process. Individual and group projects
will explore the following ideas: 1. Plans,
Proposals and Outlines: drawing as a form of interpretation,
interaction and exchange. 2. Drawing from Observation and
the Imagination: large scale drawings of landscapes, real and
imagined. 3. Wall Drawing. Each student will use a dedicated section
of wall to create an independent project that will evolve over the course of 3
to 4 weeks. Open to any student who has taken a level 2 drawing class, or by permission
of the instructor. Class size: 14
|
16261 |
ART 406
Senior Seminar |
Kenneth Buhler |
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 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