Go to navigation (press enter key)

Courses

The department offers majors or correlates in art history and studio art. Enriched by a comprehensive college art museum, both majors culminate in a one-semester senior thesis or independent studio project. Art 105-106 (Introduction to the History of Art)—required for majors and encouraged for all Vassar students—opens with monuments of the ancient world and ends with today’s global video as professors in the department present their areas of special expertise. Upper level courses offer work in architectural and museum studies as well as art history and criticism. Academic credits may also be earned through study abroad and field work or internships in the New York museums, galleries and auction houses. Art 102-103 (Drawing I), the introductory studio course, opens the way for students with a range of drawing experience to advanced classes in drawing, painting, sculpture, photography, printmaking, color, computer animation and video. An architecture sequence of introductory, intermediate and advanced drawing and design classes is also offered.

The following courses for Art (ART) include courses for Art History and Studio Art (studio work in design, drawing, painting, sculpture, and architectural design.

The following information is from the 2018-19 Vassar College Catalogue.

Art: I. Introductory

105 Introduction to the History of Art and Architecture 1Semester Offered: Fall

Opening with the global present, ART 105 now uses today's digital universe as a contemporary point of reference to earlier forms of visual communication.Faculty presentations explore the original functions and creative expressions of art and architecture,shaped through varied materials, tools andtechnologies. Within this visual legacy fundamental experiences and aspirations emerge: forms of religious devotion, attitudes toward nature and the human body, and the perpetual need for individual and social definition. Moving through painting, sculpture and architecture of pre-history through great monuments of the Middle East, Egypt, Greece, Rome and Asian Antiquity, we examine the  flowering of medieval art and architecture through current research in computer imaging. The print revolution and the Protestant Reformation's redirection of the role of images then lead us to connections between Renaissance art and science in works by Leonardo da Vinci and Albrecht Dürer. Weekly discussion sections help students develop essential tools of visual analysis through study of original works in the Frances Lehman Loeb Art Center. Electing both semesters of ART 105, 106 in chronological sequence is strongly recommended, but each may now be taken individually or in the order that fits a student's schedule.

NRO available for juniors and seniors. Open to all classes. Enrollment limited by class.

Three 50-minute periods and one 50-minute conference period.

106 Introduction to the History of Art and Architecture 1Semester Offered: Spring

ART 106 continues exploration of an accelerating global exchange of images and ideas from Michelangelo in the High Renaissance to contemporary architecture and video. Between then and now, we consider the emergence of the public art museum along with industrializing cultures and mass media in the nineteenth century. As we trace the rise of modernity and the increasing authority assumed by artists and architects, we examine new forms of public space, both urban and natural, and the impact of alternative creative and political practices. In considering American developments, Art 106 provides a focus for analyzing the ongoing dynamic between indigenous and newly arriving cultural forms: Native American, African American, Latino, Asian and European. Such diversity has created a richly layered foundation for today's efforts to interpret, display and safeguard the world's irreplaceable cultural heritage, old and new. Electing both semesters of ART 105,106 in chronological sequence is strongly recommended, but each may now be taken individually or in the order that fits a student's schedule.

NRO available for juniors and seniors. Open to all classes. Enrollment limited by class.

Three 50-minute periods and one 50-minute conference period.

125 The Sound of Space: Intersecting Acoustics, Architecture and Music 1

(Same as MUSI 125 and PHYS 125) The disciplines of acoustics, architecture, and music are often treated in isolation, resulting in the loss of many synergistic connections. This course will bring these three different but intersecting disciplines together in an exciting new way through a collaborative team-teaching process. The course will explore the physical nature of music in the built environment, focusing on the generation, transmission, and reception of music in a variety of spaces across campus. An introduction will first be given for each discipline, then the intersections of these seemingly disparate, yet closely related fields will be studied through a combination of lecture, group discussion, and hands-on investigation. Student teams will adopt a key acoustical space on campus, which they will present during a processional performance by a Vassar choral group open to the public at the end of the semester. Christine Howlett, Andrew Tallon.

Not offered in 2018/19.

Two 75-minute periods.

144 Living in the Ancient City 0.5Semester Offered: Fall

(Same as GRST 144 and URBS 144) The great Mediterranean cities of Classical Antiquity, Athens in the 5th c. BC and Rome in the 1st-2nd c. CE (along with some of their satellite cities), are synonymous with the rise of western civilization. The city plans and monumental architecture dominate our view, but this course also focuses on the civic institutions housed in the spectacular buildings and the social worlds shaped by the grand public spaces, as well as the cramped working quarters. Neighborhoods of the rich and the poor, their leisure haunts, and places of congregation and entertainment are explored to reveal the rituals of everyday life and their political consequences. Eve D'Ambra.

Second six-week course.

Two 75-minute periods.

160 Art and Social Change in the United States 1

(Same as AMST 160) In this first-year writing seminar, we explore relationships between art, visual culture, and social change in the United States. Focusing on twentieth and twenty-first century social movements, we study artists and communities who have sought to inspire social change--to cultivate awareness, nurture new ideas, offer fresh visions, promote dialogue, encourage understanding, build and strengthen community, and inspire civic engagement and direct action--through creative visual expression. Lisa Collins.

Open only to first-year students; satisfies the college requirement for a First-Year Writing Seminar.

Not offered in 2018/19.

Two 75-minute periods.

170 Introduction to Architectural History 1

(Same as URBS 170) An overview of the history of western architecture from the pyramids to the present. The course is organized in modules to highlight the methods by which architects have articulated the basic problem of covering space and adapting it to human needs. Nicholas Adams.

Not offered in 2018/19.

Two 75-minute periods.

190 Considering the Sense of Sight 1Semester Offered: Fall

In class discussions and short papers we explore the wonders of the sense of sight from multiple perspectives, past and present, focusing on how sight has inspired major creative achievements and discoveries in the history of both art and science. Examples from film and literature illustrate how the theme of sight can shape narratives in film and literature as well as art. Throughout the semester the collections of the Frances Lehman Loeb Loeb Art Center provide access to original objects for individual and group presentations. Susan Kuretsky.

Open only to first-year students; satisfies the college requirement for a First-Year Writing Seminar.

Two 75-minute periods.

Art: II. Intermediate

210 Art, Myth, and Society in the Ancient Aegean 1

(Same as GRST 210) Eve D'Ambra.

Prerequisite(s): ART 105 or ART 106 or coursework in Greek & Roman Studies, or permission of the instructor.

NRO available to non-majors.

Not offered in 2018/19.

Two 75-minute periods.

211 Rome: The Art of Empire 1

(Same as GRST 211) From humble beginnings to its conquest of most of the known world, Rome dominated the Mediterranean with the power of its empire. Art and architecture gave monumental expression to its political ideology, especially in the building of cities that spread Roman civilization across most of Europe and parts of the Middle East and Africa. Roman art also featured adornment, luxury, and collecting in both public and private spheres. Given the diversity of the people included in the Roman empire and its artistic forms, what is particularly Roman about Roman art? Eve D'Ambra.

Prerequisite(s): ART 105 or ART 106  or one unit in Greek and Roman Studies, or permission of the instructor.

Not offered in 2017/18

Two 75-minute periods.

215 The Art and Archaeology of Ancient Egypt 1Semester Offered: Fall

(Same as GRST 215) Ancient Egypt has long fascinated the public with its pyramids, mummies, and golden divine rulers. This course provides a survey of the archaeology, art, and architecture of ancient Egypt from the prehistoric cultures of the Nile Valley through the period of Cleopatra's rule and Roman domination. Topics to be studied include the art of the funerary cult and the afterlife, technology and social organization, and court rituals of the pharaohs, along with aspects of everyday life. Eve D'Ambra.

Prerequisite(s): ART 105 or ART 106 or one unit of Greek and Roman Studies, or permission of the instructor.

Two 75-minute periods.

218 The Museum in History, Theory, and Practice 1Semester Offered: Fall

This course surveys the long evolution of the art museum, beginning with private wonder rooms and cabinets of curiosity in the Renaissance and ending with the plethora of contemporary museums dedicated to broad public outreach. As we explore philosophies of both private and institutional collecting (including that of the college and university art museum) we use the Frances Lehman Loeb Art Center as our first point of reference for considering a range of topics, such as the museum's role in furthering art historical scholarship and public education, its acquisition procedures, and challenges to the security, quality or integrity of its collections posed by theft, by the traffic in fakes and forgeries, or the current movement to repatriate antiquities to their country of origin. Assignments include readings and group discussions, individual research projects, and at least three one-day field trips to museums in our area (including Manhattan) to allow us to examine the many different approaches to museum architecture and installation. 

Prerequisite(s): ART 105 or ART 106.

Two 75-minute periods.

219 The First Cities: The Art and Archaeology of the Ancient Near East 1

(Same as GRST 219 and URBS 219) The art, architecture, and artifacts of the region comprising ancient Iraq, Iran, Syria, Palestine, and Turkey from 3200 BCE to the conquest of Alexander the Great in the fourth century BCE. Beginning with the rise of cities and cuneiform writing in Mesopotamia, course topics include the role of the arts in the formation of states and complex societies, cult practices, trade and military action, as well as in everyday life. How do we make sense of the past through its ruins and artifacts, especially when they are under attack (the destruction wrought by ISIS)? Eve D'Ambra.

Prerequisite(s): ART 105 or 106 or one unit in Greek and Roman Studies, or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

220 Cathedral, Castle, City, Cloister: the Architecture of the Middle Ages 1Semester Offered: Spring

A survey of the greatest moments in Western, Byzantine and Islamic architecture from the reign of Constantine to the late middle ages and the visual, symbolic and structural language developed by the masters and patrons responsible for them. Particular attention is paid to issues of representation: the challenge of bringing a medieval building into the classroom, that of translating our impressions of these buildings into words and images, and the ways in which other students and scholars have done so. Andrew Tallon.

Prerequisite(s): ART 105 or ART 106, coursework in Medieval Studies, or permission of instructor.

Two 75-minute periods.

221 The Art of Faith: Sacred Objects of the Middle Ages 1Semester Offered: Fall

We travel through the Middle Ages by examining sacred works of painting, sculpture, glass, and metal in the Christian West, from the British Isles to the great hub of Constantinople, and in the East, from the desert monasteries of Egypt to the trade routes of Asia Minor. As we move along we consider the rich artistic interchange among Christians, Muslims and Jews. Students work directly with medieval objects held in the Loeb Art Center and with manuscripts in the Special Collections of the Vassar Library. Andrew Tallon.

Prerequisite(s): ART 105 or ART 106, coursework in Medieval Studies, or permission of the instructor.

Two 75-minute periods.

230 Art in the Age of Van Eyck, Dürer and Bruegel 1Semester Offered: Spring

The Northern Renaissance. Early Netherlandish and German art from Campin, van Eyck and van der Weyden to Bosch, Bruegel, Dürer and Holbein. This transformative period, which saw the invention of the printing press in the fifteenth century and the explosive turmoil of the Protestant Reformation in the sixteenth century, generated a profound reassessment of the role of images in the form of new responses toward human representation in devotional and narrative painting and printmaking as well as developments in secular subjects such as portraiture and landscape.

Prerequisite(s): ART 105 or ART 106 or permission of the instructor.

Two 75-minute periods.

231 The Golden Age of Rubens, Rembrandt and Vermeer 1

An exploration of painting and printmaking during the Golden Age of the Netherlands. Lectures focus on Rubens, Rembrandt, Vermeer and their contemporary colleagues who specialized in landscape, still life, architectural and marine painting. While examining the effect of differing religions systems in Flanders and the Dutch Republic, we consider how economic triumph, scientific research and global trade stimulated the formation and flowering of Netherlandish art in the Age of Observation.  TBA.

Prerequisite(s): ART 105 or ART 106 or permission of the instructor.

not offered in 2018/2019

Two 75-minute periods.

235 The Rise of the Artist, from Giotto to Leonardo da Vinci 1

A survey of Italian art c. 1300 - c.1500, when major cultural shifts led to a redefinition of art, and the artist emerged as a new creative and intellectual power. The course considers painting, sculpture and decorative arts by artists including Giotto, Donatello, Botticelli, and Leonardo. Our study of artworks and primary texts reveals how a predominantly Christian society embraced the revival of ancient pagan culture, elements of atheist philosophy, and Islamic science. We also discuss art in the context of nascent multiculturalism and consumerism in the new city-states; the importance of new communications systems, such as print; and artistic exchange with northern Europe and the Eastern Mediterranean centers of Baghdad and Constantinople. Other topics include art theory and criticism; techniques and materials of painting and sculpture; experiments with multimedia and mass production; developments in perspective and illusionism; ritual and ceremonial; and art that called into question notions of sexuality and gender roles. Yvonne Elet.

Prerequisite(s): ART 105 or ART 106, or permission of the instructor.

Not offered in 2018/2019.

Two 75-minute periods.

236 Art in the Age of Leonardo, Raphael, and Michelangelo 1

An exploration of the works of these three masters and their contemporaries in Renaissance Italy, c. 1485 - c. 1565. The primary focus is on painting and sculpture, but the course also considers drawings, prints, landscape, gardens, and decorative arts, emphasizing artists' increasing tendency to work in multiple media. We trace changing ideas about the role of the artist and the nature of artistic creativity; and consider how these Renaissance masters laid foundations for art, and its history, theory and criticism for centuries to come. Other topics include artists' workshops; interactions between artists and patrons; the role of the spectator; ritual and ceremonial; and Renaissance ideas about beauty, sexuality and gender. Yvonne Elet.

Prerequisite(s): ART 105 or ART 106, or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

249 Encounter and Exchange: American Art from 1565 to 1865 1Semester Offered: Fall

(Same as AMST 249) This course provides a survey of the visual arts made in the United States (or by American artists living abroad) until 1865, beginning with the first European representations of Native Americans in the 16th century and ending with Alexander Gardner's images of death and destruction on the battlefields of the U.S. Civil War. It emphasizes the significance of cross-cultural encounter and international exchange to the creation and reception of artworks produced in a variety of media, including painting, sculpture, architecture, photography, and prints. Our approach will be both chronological and thematic, considering topics such as the role of art in the construction of national identity; the origins of the U.S. art market; and the tensions of class, gender, race, and ethnicity in early American art. 

Prerequisite(s): ART 105 or ART 106, or permission of the instructor.

Two 75-minute periods.

251 Modern America: Visual Culture from the Civil War to WWII 1Semester Offered: Spring

(Same as AMST 251) This course examines American visual culture as it developed in the years between the Civil War and World War II. Special attention is paid to the intersections among diverse media and to such issues as the emergence of new forms of mass imagery, consumerism, cosmopolitanism, regionalism, abstraction, gender, primitivism, mechanized reproduction, and the rise of modern art institutions. Artists studied include Winslow Homer, Timothy O'Sullivan, James McNeill Whistler, Thomas Eakins, Henry Ossawa Tanner, Mary Cassatt, Georgia O'Keeffe, Aaron Douglas, and Edward Hopper, among others.

Prerequisite(s): ART 105 or ART 106 or a 100-level American Studies course, or permission of the instructor.

Two 75-minute periods.

254 The Arts of Eastern, Southern, Central and Western Africa 1

(Same as AFRS 254) This course is organized thematically and examines the ways in which sculpture, painting, photography, textiles, and film and video function both historically and currently in relationship to broader cultural issues. Within this context, this course explores performance and masquerade in relationship to gender, social, and political power. We also consider the connections between the visual arts and cosmology, identity, ideas of diaspora, colonialism and post-colonialism, as well as the representation of the "Self," and the "Other." 

Prerequisite(s): ART 105 or ART 106, one course in Africana Studies, or permission of the instructor.

The Non-Recorded Option is available to non-majors.

Not offered in 2018/19.

Two 75-minute periods.

256 The Arts of China 1Semester Offered: Fall

(Same as ASIA 256) This course offers a survey of art in China from prehistory to the present. The remarkable range of works to be studied includes archeological discoveries, imperial tombs, palace and temple architecture, Buddhist and Taoist sculpture, ceramics, calligraphy, painting, and experimental art in recent decades. We examine the visual and material features of objects for insight into how these works were crafted, and ask what made these works meaningful to artists and audiences. Readings in primary sources and secondary scholarship allow for deeper investigation of the diverse contexts in which the arts of China have evolved. Among the issues we confront are art's relationship to politics, ethics, gender, religion, cultural interaction, and to social, technological, and environmental change. Jin Xu. 

Prerequisite(s): ART 105 or ART 106, one Asian Studies course, or permission of the instructor.

Two 75-minute periods.

258 The Art of Zen in Japan 1

(Same as ASIA 258) This course surveys the arts of Japanese Buddhism, ranging from sculpture, painting, architecture, gardens, ceramics, and woodblock prints. We will consider various socioeconomic, political and religious circumstances that led monks, warriors, artists, and women of diverse social ranks to collectively foster an aesthetic that would, in turn, influence modern artists of Europe and North America.

Prerequisite(s): ART 105 or ART 106  or a 100-level Asian Studies course, or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

259 Art, Politics and Cultural Identity in East Asia 1

(Same as ASIA 259) This course surveys East Asian art in a broad range of media, including ceramics, sculpture, calligraphy, painting, architecture, and woodblock prints. Particular attention is paid to the ways in which China, Korea, and Japan have negotiated a shared "East Asian" cultural experience. The works to be examined invite discussions about appropriation, reception, and inflection of images and concepts as they traversed East Asia. Jin Xu.

 

            

Prerequisite(s): ART 105 or ART 106 or one 100-level Asian Studies course, or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

260 The Silk Roads: Visual and Material Culture 1Semester Offered: Spring

(Same as ASIA 260) Stretching some 8,000 kilometers from east to west, the Silk Road is a network of trade routes that provided a bridge between the east and the west. Although the eastern part of the routes had been in use for millennia, the opening of the Silk Road occurred during the first century BCE, when China secured control over the eastern section and began trading with the Roman Empire through intermediary states in Central Asia. From this time until the end of the Mongol Yuan period in the fourteenth century, with periods of disruptions, the Silk Road flourished as a commercial and at times military highway. But more than that, the Silk Road was a channel for the transmission of ideas, technologies, and artistic forms and styles, with far-reaching impact beyond China and the Mediterranean world, extending to Southwest Asia, Africa, the Atlantic shores of Europe, and Japan to the east. This course examines the art forms that flourished along the Silk Road between the first and fourteenth centuries CE, ranging from ceramics, glass, gold and silverware, textiles, to religious art. Special attention is paid to important sites such as Dunhuang (a Buddhist cave-temple site), Chang'an (capital of Han and Tang China), and Shosoin (the imperial art treasure house of Nara Japan). Jin Xu.

Two 75-minute periods.

262 Art and Revolution in Europe, 1789-1848 1Semester Offered: Fall

A survey of major movements and figures in European art, 1789-1848, focusing on such issues as the contemporaneity of antiquity in revolutionary history painting, the eclipse of mythological and religious art by an art of social observation and political commentary, the romantic cult of genius, imagination, and creative self-definition, and the emergence of landscape painting in an industrializing culture. Brian Lukacher.

Prerequisite(s): ART 105 or ART 106, or permission of the instructor.

Two 75-minute periods.

263 Painters of Modern Life: Realism, Impressionism, Symbolism 1Semester Offered: Spring

A survey of major movements and figures in European art, 1848-1900, examining the realist, impressionist, and symbolist challenges to the dominant art institutions, aesthetic assumptions, and social values of the period; also addressing how a critique of modernity and a sociology of aesthetics can be seen developing through these phases of artistic experimentation. Brian Lukacher.

Prerequisite(s): ART 105 or ART 106, or permission of the instructor.

Two 75-minute periods.

264 The Metropolitan Avant-Gardes 1Semester Offered: Fall

(Same as MEDS 264 and URBS 264) Radical prototypes of creativity and self-organization were forged by the new groups of artists, writers, filmmakers and architects that emerged in the first decades of the twentieth century. They based themselves in the new metropolitan centers.  The course studies the avant-gardes' different and often competing efforts to meet the economic transformation that industrialization was bringing to city and country alike. Afterward, the role of art itself would be seen completely differently. Molly Nesbit.

Prerequisite(s): ART 105 or ART 106, or permission of the instructor.

Two 75-minute periods and one weekly film screening.

265 Modern Art and the Mass Media: the New Public Sphere 1Semester Offered: Spring

(Same as MEDS 265 and URBS 265) When the public sphere was reset during the twentieth century by a new order of mass media, the place of art and artists in the new order needed to be claimed. The course studies the negotiations between modern art and the mass media (advertising, cinema, TV), in theory and in practice, during the years between the Great Depression and the liberation movements of the late 1960s–the foundation stones of our own contemporary culture. As a consequence, the physical spaces of culture would be reimagined and designed. Molly Nesbit.

Prerequisite(s): ART 105 or ART 106.

Two 75-minute periods and one film screening.

266 Art, Urgency, and Everyday Life in the United States 1Semester Offered: Fall

(Same as AFRS 266 and AMST 266) An interdisciplinary exploration of how a range of U.S. based creators--through their artistic practices, aesthetic choices, and expressive interventions--are grappling with urgent issues of our time. Lisa Collins.

Prerequisite(s): ART 105 or ART 106 or coursework in Africana Studies, American Studies, Women's Studies, or permission of the instructor.

Two 75-minute periods.

268 After 1968: the Activation of Art 1

(Same as MEDS 268 and URBS 268) This course studies the emancipation of the visual arts after 1968, here and abroad, together with the political and philosophical discussions that guided them. Theory and practice would form new combinations. The traditional fine arts as well as the new media, performance, film, architecture and installation art are treated as part of the wider global evolution creating new theaters of action, critique, community and hope. Molly Nesbit.

Prerequisite(s): ART 105 or ART 106.

Not offered in 2018/19.

Two 75-minute periods and one film screening.

270 Renaissance Architecture 1

European architecture and city building from 1300-1500; focus on Italian architecture and Italian architects; encounters between Italian and other cultures throughout Europe and the Mediterranean. 

Prerequisite(s): ART 105 or ART 106, or ART 170 or permission of the instructor.

Not offered in 2018/19

Two 75-minute periods.

271 Early Modern Architecture 1

Prerequisite(s): ART 105 or ART 106, or ART 170, or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

272 Buildings and Cities after the Industrial Revolution 1Semester Offered: Fall

(Same as URBS 272) Architecture and urbanism were utterly changed by the forces of the industrial revolution. New materials (iron and steel), building type (train stations, skyscrapers), building practice (the rise of professional societies and large corporate firms), and newly remade cities (London, Paris, Vienna) provided a setting for modern life. The course begins with the liberation of the architectural imagination around 1750 and terminates with the rise of modernism at the beginning of the twentieth century (Gropius, Le Corbusier).

Prerequisite(s): ART 105 or ART 106 or permission of the instructor.

Two 75-minute periods.

273 Modern Architecture and Beyond 1Semester Offered: Spring

(Same as URBS 273) European and American architecture and city building (1920 to the present); examination of the diffusion of modernism and its reinterpretation by corporate America and Soviet Russia. Discussion of subsequent critiques of modernism (postmodernism, deconstruction, new urbanism) and their limitations. Issues in contemporary architecture.

Prerequisite(s): ART 105 or ART 106, or ART 170, or permission of the instructor.

Two 75-minute periods.

274 Buildings and Cities in Early Modern Italy 1Semester Offered: Spring

(Same as URBS 274)  A history of architecture and urban design on the Italian peninsula, c. 1300-1700. We focus on the influential centers of Florence, Rome, and Venice, with reference to parallel developments elsewhere in Europe and the Mediterranean. Buildings and urban spaces are considered in social and political contexts, looking at the social structures as well as the patrons for which they were designed: governments, trade guilds, popes, nobles, and merchants. We study architectural and urban forms in relation to their functions, considering quotidian and ceremonial uses, the public and private spheres, and gendered spaces. Visual and textual evidence of performance, navigation, ritual, and sound reveal the varied ways that interior and exterior spaces could be experienced. Other topics include the changing role of the architect; individual versus collaborative design methods; the relation between theory and practice; new media; the transmission of memory; patterns of urban information exchange; manifestations of the ideal city; and the relation of urban, suburban, and rural topography. We investigate the designs and built work of such figures as Brunelleschi, Leon Battista Alberti, Leonardo da Vinci, Bramante, Raphael, Michelangelo, Palladio, Bernini, and Borromini. We also consider multimedia ensembles that blur traditional boundaries among art, architecture, urbanism, and landscape. Yvonne Elet.

Two 75-minute periods.

275 Rome: Architecture and Urbanism 1

(Same as URBS 275) The Eternal City has been transformed many times since its legendary founding by Romulus and Remus. This course presents an overview of the history of the city of Rome in antiquity, the Middle Ages, the Renaissance, the Baroque period, and modern times. The course examines the ways that site, architecture, urbanism, and politics have interacted to produce one of the world's densest urban fabrics. The course focuses on Rome's major architectural and urban monuments over time (e.g., Pantheon, St. Peters, the Capitoline hill) as well as discussions of the dynamic forms of Roman power and religion. Literature, music and film also will be included as appropriate. 

Prerequisite(s): ART 105 or ART 106, or ART 170 or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

279 Four Architects of the Modern Era 1

(Same as URBS 279) The course considers the architecture, the design work, and the subsequent reputations of the greatest architects of the twentieth century, Le Corbusier, Mies van der Rohe, Alvar Aalto, and Louis Kahn. A comparative discussion of these architects and their work entails a close of examination of their major works and architectural theories in the context of cultural change during the twentieth century. 

 

Prerequisite(s): ART 105 or 106 or ART 170, or permission of the instructor.

Not offered in 2018/19.

Two 75-minute periods.

290 Field Work 0.5 to 1Semester Offered: Fall or Spring

Projects undertaken in cooperation with approved galleries, archives, collections, or other agencies concerned with the visual arts, including architecture. The department.

Prerequisite(s): ART 105-ART 106 and one 200-level course.

Open by permission of a supervising instructor. Not included in the minimum requirements for the major.

May be taken either semester or in the summer.

298 Independent Work 0.5 to 1Semester Offered: Fall or Spring

Open by permission of the instructor with the concurrence of the adviser in the field of concentration. Not included in the minimum for the major.

Art: III. Advanced

300 Senior Essay Preparation 0.5Semester Offered: Fall or Spring

Prerequisite(s): permission of the Chair of the Art Department.

Optional. Regular meetings with a faculty member to prepare an annotated bibliography and thesis statement for the senior essay. Course must be scheduled in the semester prior to the writing of the senior essay. Credit given only upon completion of the senior essay. Ungraded.

301 Senior Project 1Semester Offered: Fall or Spring

Supervised independent research culminating in a written essay or a supervised independent project in studio art.

312 Critical Readings in Art History 0.5

This half-unit course investigates the history of art history, its changing methods, and its evolving theories. Interdisciplinary by nature, art history has roots and tributaries in many fields of knowledge and practice: philosophy, museology, social history, architectural theory, and others. Each year the course explores a different set of transformative episodes in the history of the discipline. Readings, focus, and instructors will change from year to year.

 

Prerequisite(s): ART 105, ART 106, or permission of the Instructor.

First six-week course.

Not offered in 2018/19.

One 2-hour period.

314 Seminar in Ancient Art 1

(Same as GRST 314 and URBS 314) Pompeii: Public and Private Life. The volcanic eruption of Vesuvius in A.D. 79 blotted out life in Pompeii, but the Roman town lives on as a study site and tourist attraction. Its urban development with grand theaters and amphitheaters alongside of taverns and brothels exemplifies high and low Roman culture. The homes of private citizens demonstrate intense social competition in their scale, grounds, and the Greek myths painted on walls. Pompeii gave shape to the world of Roman citizens and others through its raucous street life and gleaming monumental centers. Eve D'Ambra.

Prerequisite(s): permission of the instructor.

Not offered in 2018/19.

One 2-hour period.

318 Object of Devotion, Object of Display: Exhibiting Sacred Art in Secular Space 1

In 2017 the Loeb Art Center acquired a rare Christian liturgical object, a thirteenth century enamel and gilt dove, one of only a few dozen such objects in existence. It was designed to contain something far more precious than the scintillating French reliquaries from Limoges that it resembles: the Eucharistic wafer, God himself. Students participate directly in the creation of an exhibition opening in May 2018 that has as its goal to introduce this little known object to the world.

In anticipation of the exhibition, we survey the world of art collection, from the curiosity cabinets of the Renaissance to the contemporary museum. As we explore philosophies of both private and institutional collecting (including that of the college and university art museum) the Frances Lehman Loeb Art Center serves as our primary point of reference for a range of topics, such as the museum's role in art historical scholarship and public education, its acquisition procedures, the promises and perils of representations, particularly digital, of artworks, and the challenges to the security, quality or integrity of its collections posed by theft, by the traffic in fakes and forgeries, or the movement to repatriate antiquities to their country of origin. Assignments include readings and group discussions, individual research projects, and field trips to local museums (including those in New York City) to study various approaches to museum architecture and installation.

Prerequisite(s): ART 105, 106 and permission of the instructor.

Not offered in 2018/19.

One 2-hour period and periodic field trips to regional museums on Fridays.

320 Seminar in Medieval Art 1Semester Offered: Spring

Topic for 2018/19b: The Art and Architecture of the Pilgrimage Roads. The mindset of the pilgrim, the universal human desire to seek the transcendent through a spiritual or physical voyage, is inscribed from the very start, and at the deepest level, in the Christian faith. It is the physical manifestation of this desire that we study in this seminar: the art and architecture created to honor the saints whose tangible remains on earth, it was believed, retained miraculous powers; created to inspire, instruct, and some would say control those that came to venerate them. We begin in Jerusalem, where Christian pilgrimage, considered as an industry, began, and move to Rome, the site of the tombs of the apostles Peter and Paul. We examine the pilgrimage which, beginning in the eleventh century, supplanted those of both Jerusalem and Rome: the road to the tomb of the Apostle James in Santiago de Compostela. We conclude by considering the cult of the unlikely martyr Thomas Becket at Canterbury, and then embark upon a pilgrimage of our own: to the shrine of Saint Frances Cabrini and to the Cloisters Museum in New York. Andrew Tallon.

 

Prerequisite(s): permission of the instructor.

One 2-hour period.

324 Representing Architecture 1

We consider the built world from the vantage point of its three protagonists: designer, builder, and client, from the dawn of time to the present. We consider their search for a language, whether verbal or visual, to represent architecture. We devote particular attention to the promises and perils of the dominant conventions of plan, section and elevation and the ways in which each has shaped the design and historiography of great buildings, past and present. And we look forward, to wonder where the latest experiments in multidimensional and immersive visualization might be applied. Each seminar member selects a key building and documents and interprets its representational history. Andrew Tallon.

 

Prerequisite(s): 1) ART 105-ART 106; 2) at least one of the following courses: ART 170, 211, 215, 220, 270, 271, 272, 273, 275, or 279; 3) permission of the instructor.

Not offered in 2018/19.

Two 2-hour periods.

331 Seminar in Northern Art 1Semester Offered: Spring

Topic for 2018/19b: Master Printmakers: Dürer and Rembrandt. This seminar investigates the origins and development of printmaking and a European print culture during the Renaissance and Baroque periods, with primary focus on the medium's greatest innovators: Albrecht Dürer and Rembrandt van Rijn. Student presentations center upon original engravings and etchings in the Frances Lehman Loeb Art Center. The course includes one field trip to the Print Room at the Metropolitan Museum in New York. 

Prerequisite: permission of the instructor

One 2-hour period.

332 Seminar in Italian Renaissance Art 1

Reconsidering Raphael. Raphael devised new modes of designing and making art that changed the course of western visual culture. He has long been known as "the prince of painters," but this label ignores the astonishing range of his activities: Raphael was also an accomplished architect, landscape designer, archeologist, draftsman, and designer of prints and tapestries. And despite his reputation as a cool classicist, he actually worked in an astonishing variety of styles and modes. This seminar reconsiders Raphael's extraordinary career, taking a comprehensive view of his varied projects. We also examine his writings and his close collaborations with literary figures including Baldassare Castiglione, addressing the relation of text and image in Renaissance creative processes. This holistic approach allows a new appreciation of Raphael's brilliance and originality, and the reasons his works served as models for artists down to modernism. Yvonne Elet.

Prerequisite(s): permission of the instructor.

Not offered in 2018/19.

One 2-hour period.

333 The Art of the Garden in Early Modern Italy 1Semester Offered: Spring

Changing attitudes toward the relationship between art and nature were played out in the design of Italian villas and gardens, c. 1450- c. 1650. These large-scale estates generated by renowned architects and patrons established models for the Western landscape tradition. Their designs for buildings, hardscaping, plantings, waterworks, and decorations blurred distinctions among art, architecture and landscape, as well as between indoors and outdoors; city and country; and nature and artifice. We examine sites from Tuscany, Rome, the Veneto, and Naples, considering the inheritance of ancient Roman, medieval, and Islamic landscape traditions, and the later reception of Italian planning in France and England. We also explore the impact of new flora and fauna brought to Europe in the age of overseas exploration, trade, and conquest, as well as changing patterns of collecting and display. Readings explore villa ideology, the relation between city and country life, the garden as utopia, and human dominion over nature. During excursions to local landscapes, we experience the agency of the ambulatory spectator in constructing place and narrative, and consider the reception of the Italian garden in America. Yvonne Elet

Prerequisite(s): permission of the instructor.

One 3-hour period.

358 Seminar in Asian Art 1Semester Offered: Spring

(Same as ASIA 358) Topics vary each year.

Topic for 2018/19b: Art in China from 1900 to Today: Vision, Politics, and Globalism. This seminar offers an in-depth investigation of art in China from the early twentieth century to the present. We discuss a vast array of artistic media, from painting, printmaking, and sculpture, to popular imagery, photography, film, fashion, architecture and urban space. The course emphasizes careful visual analysis, supplemented by readings that examine the evolving circumstances in which artists in modern China have created their works. Issues we confront in the seminar include art's role as an instrument of political authority, opposition, and subversion; artists' experiments with technology and new media; and the rise of Chinese art as a global phenomenon, with attention to the complex and divergent realities of today's China as envisioned by artists in the twenty-first century. Jin Xu.

 

Prerequisite(s): permission of the instructor.

One 2-hour period.

362 Seminar in Nineteenth-Century Art 1Semester Offered: Fall

Topic for 2018/19a: Deep Time in European Landscape Art, Poussin to Cézanne. This seminar addresses the intersection of natural history, philosophy and landscape painting over the course of the eighteenth- and nineteenth centuries. The imagery of geological wonders (from caverns to volcanoes), ancient ruins, prehistoric sites, and works of art seemingly wrought by nature in the landscapes of artists such as Poussin, Piranesi, Wright of Derby, Friedrich, Turner, Courbet and Cézanne are studied. The scientific and theological debates over the age of the earth and the visible traces of "deep time" are considered in relation to the visual arts of the period. The seminar makes use of the exhibition entitled "Past Time: Geology in European and American Art" on view at the Lehman Loeb Art Center during the fall semester. Brian Lukacher.

Prerequisite(s): ART 106 and ART 262 or permission of the instructor.

One 2-hour period.

364 Seminar in Twentieth Century and Contemporary Art 1Semester Offered: Fall

(Same as MEDS 364) Topic for 2018/19a: The Moving Image: Between Video and Experimental Curating. Already by 1930 experimental film had tested the boundaries for the exhibition of works of art; when video built on that foundation thirty years later, the borders were again expanded. Moving image and radical exhibition formats would continue to evolve in tandem, becoming a succession of inspirations and experiments. The seminar studies these as theoretical, practical and perceptual questions posed in fact since the invention of cinema; case studies from past and present are compared; the seminar plans and executes curatorial experiments of its own. Molly Nesbit.

Prerequisite(s): permission of the instructor

One 2-hour period.

366 Art and Activism in the United States 1Semester Offered: Spring

(Same as AFRS 366, AMST 366, and WMST 366) Topic for 2018/19b: Exquisite Intimacy. An interdisciplinary exploration of the work and role of quilts within the US. Closely considering quilts--as well as their creators, users, keepers, and interpreters--we study these integral coverings and the practices of their making and use with keen attention to their recurrence as core symbols in American history, literature, and life. Lisa Collins.
 

Prerequisite(s): permission of the instructor.

One 2-hour period.

367 Artists' Books from the Women's Studio Workshop 1

(Same as AMST 367 and WMST 367) In this interdisciplinary seminar, we explore the limited edition artists' books created through the Women's Studio Workshop in Rosendale, New York. Founded in 1974, the Women's Studio Workshop encourages the voice and vision of individual women artists, and women artists associated with the workshop have, since 1979, created over 180 hand-printed books using a variety of media, including hand-made paper, letterpress, silkscreen, photography, intaglio, and ceramics. Vassar College recently became an official repository for this vibrant collection which, in the words of the workshop's co-founder, documents "the artistic activities of the longest continually operating women's workspace in the country." Working directly with the artists' books, this seminar will meet in Vassar Library's Special Collections and closely investigate the range of media, subject matter, and aesthetic sensibilities of the rare books, as well as their contexts and meanings. We will also travel to the Women's Studio Workshop to experience firsthand the artistic process in an alternative space. Lisa Collins.

Prerequisite(s): permission of the instructor.

Not offered in 2018/19.

One 2-hour period.

370 Seminar in Architectural History 1Semester Offered: Fall

(Same as URBS 370) Topic for 2018/19a: Post-War American Architecture. The course focuses on the career of the architect Gordon Bunshaft (1909–1990) and the architectural firm of Skidmore Owings & Merrill. We examine Bunshaft's career in light of the development of the glass skyscraper (Lever House), the invention of the glass bank (Manufacturers Trust), and the creation of the corporate campus (Connecticut General) in post-World War II America. 

Prerequisite(s): 200-level course in architectural history. 

One 3-hour period.

382 Belle Ribicoff Seminar 0.5Semester Offered: Spring

Topic for 2018/19b: To be announced.

Prerequisite(s): permission of the Chair of the Art Department.

Second six-week course.

One 2-hour period.

385 Seminar in American Art 1Semester Offered: Fall

(Same as URBS 385) Topic for 2018/19a: The Visual and Material Culture of U.S. World's Fairs, 1853-1939. From the mid-nineteenth through the mid-twentieth centuries, world's fairs played a crucial role in facilitating the emergence of mass visual culture and shaping important developments in the fine arts, architecture, and urban design. Millions of visitors attended these immense global spectacles, wandering through the elaborate but temporary cities erected on the fairgrounds, in order to view public works of art and architecture, anthropological exhibitions, popular entertainments, and juried exhibitions of the latest cultural, scientific, and technological achievements. This interdisciplinary seminar focuses on the art, architecture, and techniques of display at major world's fairs held in the United States, including New York (1853 and 1939), Philadelphia (1876), Chicago (1893), Buffalo (1901), St. Louis (1904), and San Francisco (1915). We consider how the visual and material culture of international expositions attempted to give form to (or, in some cases, subvert) a new social order during an era of rapid modernization, industrialization, and growing nationalism and imperialism. 

Prerequisite(s): permission of the instructor.

One 2-hour period.

391 Advanced Fieldwork in Art Education at Dia: Beacon 0.5Semester Offered: Fall and Spring

The Dia: Beacon-Vassar College program offers a yearlong, immersive fieldwork experience for the study of the Dia collection in the context of the philosophical mission of Dia Art Foundation and its public programming. In the first term, interns focus on the ideas, work, and histories of the individual Dia artists, who were and continue to be some of the most ambitious and pioneering artists of the late 1960s through to the present day. Interns also study the latest advances in museum education: constructivist learning theories vis-à-vis the work of Jean Piaget, Lev Vygotsky, and John Dewey; their practical application in art museums; the research being done at other institutions, for example, Harvard University's Project Zero. In the second term, interns draw from these perspectives in order to design and give tours to school groups, primarily from the Dutchess County public schools. Admission by special permission and limited to no more than 6 students with advanced coursework in contemporary art or education. Students must commit to working 6 hours each week at Dia on either Thursdays or Fridays from 10am - 4pm, with a lunch break, and occasional weekends in both the fall and spring terms. Interns report to the Dia:Beacon Arts Education Associate. Molly Nesbit.

Prerequisite(s): students with advanced coursework in contemporary art or education.

Six hours each week at Dia on either Thursdays or Fridays, 10:00 am - 4:00 pm.

399 Senior Independent Work 0.5 to 1Semester Offered: Fall or Spring

Open by permission of the instructor with the concurrence of the department adviser in the field of concentration. Not included in the minimum for the major.

Studio Work in Design, Drawing, Painting, Sculpture, and Architectural Design: I. Introductory

102 Drawing I: Visual Language 1Semester Offered: Fall

Development of visual ideas through a range of approaches to drawing. Emphasis is placed on perceptual drawing from life through subjects including landscape, interior, still life, and the human figure. In the second semester, figure drawing is the primary focus. Throughout the year, students work in a range of black and white media, as the elements of drawing (line, shape, value, form, space and texture) are investigated through specific problems. This course is suitable for both beginners and students with drawing experience.  Peter Charlap,Troy Michie, Laura Newman, Gina Ruggeri.

Open to all classes.

Yearlong course 102-ART 103.

Two 2-hour periods.

103 Drawing I: Visual Language 1Semester Offered: Spring

Development of visual ideas through a range of approaches to drawing. Emphasis is placed on perceptual drawing from life, through subjects including landscape, interior, still life, and the human figure. In the second semester, figure drawing is the primary focus. Throughout the year, students work in a range of black and white media, as the elements of drawing (line, shape, value, form, space and texture) are investigated through specific problems. Patrick McElnea, Laura Newman, Gina Ruggeri, Didier William.

Open to all classes.

Yearlong course ART 102-103.

Two 2-hour periods.

108 Color 1Semester Offered: Spring

To develop students' understanding of color as a phenomenon and its role in art. Color theories are discussed and students solve problems to investigate color interactions using collage and paint. Peter Charlap.

Open to all classes.

176 Architectural Design I 1Semester Offered: Fall

A studio-based class introduction to architectural design through a series of short projects. Employing a combination of drawing, modeling and collage techniques (both by hand and using digital technology) students begin to record, analyze and create architectural space and form. Tobias Armborst.

Prerequisite(s): ART 102-ART 103. Corequisite: one of the following: ART 220, ART 270, ART 272 or ART 273, or permission of the instructor.

Two 2-hour periods.

Studio Work in Design, Drawing, Painting, Sculpture, and Architectural Design: II. Intermediate

202 Painting I 1Semester Offered: Fall

An introductory course in the fundamentals of painting, designed to develop seeing as well as formulating visual ideas. Working primarily from landscape and still life, the language of painting is studied through a series of specific exercises that involve working from observation. Activities and projects that address a variety of visual media and their relationship to painting are also explored. Peter Charlap.

 

Prerequisite(s): ART 102-ART 103.

Yearlong course 202-ART 203.

Two 2-hour and 50-minute periods.

203 Painting I 1Semester Offered: Spring

A variety of painting strategies are explored, working primarily from the human figure, including representation, metaphor, narrative, pictorial space, memory, and identity. Instructor: Peter Charlap.

Prerequisite(s): ART 102-ART 103.

Yearlong course ART 202-203.

Two 2-hour periods.

204 Sculpture I 1Semester Offered: Fall

Introduction to the language of three-dimensional form through a sequence of specific problems which involve the use of various materials. Harry Roseman.

Yearlong course 204-ART 205.

Two 2-hour periods.

205 Sculpture I 1Semester Offered: Spring

Introduction to the language of three-dimensional form through a sequence of specific problems which involve the use of various materials. Christina Tenaglia.

Yearlong course ART 204-205.

Two 2-hour periods.

206 Drawing II 1Semester Offered: Fall

The course explores contemporary drawing strategies. Students take an interpretative approach to assignments, and work from a variety of subjects. Harry Roseman.

Prerequisite(s): ART 102 or other studio course.

Two 2-hour periods.

207 Drawing II 1Semester Offered: Spring

The course explores contemporary drawing strategies. Students take an interpretative approach to assignments, and work from a variety of subjects. Laura Newman.

Prerequisite(s): ART 102 or other studio course.

Two 2-hour periods.

208 Printmaking: Relief 1Semester Offered: Fall

This course is designed to explore the fundamentals of printmaking focusing primarily on relief printing techniques including linocut, woodcut, wood engraving, monotype, and collagraph. Troy Michie.

Prerequisite(s): permission of the instructor. Corequisite: ART 102.

Two 2-hour periods.

209 Printmaking: Intaglio 1Semester Offered: Spring

This course is designed to explore the fundamentals of printmaking focusing on primarily on Intaglio techniques including, drypoint, etching, aquatint, mezzotint, engraving, embossing, and stippling.  Troy Michie.

Prerequisite(s): ART 102, and permission of the instructor.

Two 2-hour periods.

212 Photography 1Semester Offered: Fall

An investigation of the visual language of black and white photography. The technical and expressive aspects of exposing film, developing negatives, and printing in the darkroom are explored. No previous photographic experience is necessary. Students are required to provide their own camera, film and photographic paper. Judith Linn.

Prerequisite(s): ART 102-ART 103.

One 4-hour period.

213 Photography II 1Semester Offered: Spring

This course explores the development of an individual photographic language. Technical aspects of exposure, developing and printing are taught as integral to the formation of a personal visual esthetic. All students are required to supply their own camera, film, and photographic paper. Judith Linn.

Prerequisite(s): ART 102-ART 103 and/or permission of the instructor.

One 4-hour period.

214 Color Digital Photography 1Semester Offered: Fall

This course examines how color in light delineates space and form. The goal of this class is to record this phenomenon as accurately as possible. Scanning traditional silver gelatin film and digital capture systems are utilized. Digital color prints are produced using Photoshop and inkjet printing. Some of the topics covered are the documentary value of color information, the ability of the computer program to idealize our experience of reality, and the demise of the latent image. Judith Linn.

Prerequisite(s): ART 212 or ART 213 and/or permission of the instructor.

Two 2-hour periods.

217 Video Art 1Semester Offered: Fall and Spring

(Same as FILM 217) Video continues to document, illuminate, and instruct our lives daily. New channels of accessibility have opened it to a broad range of alternative practices, always in relation to its online or televised utility. In this studio, students make videos to better understand the affects and formal potential of video as an opportunity for critique. Technical experimentation covers the major tools of video production and post-production. Workshops examine set, keying, montage, sound, pacing, composition, and the cut. Regular assignments address a range of structural problems, at once conceptual and plastic (topics include the question of the subject, politics of visibility, satire, abjection, abstraction, psychedelia, performance and humiliation). Work by artists who have harnessed or perverted video's components is screened bi-weekly. Abigail Gunnels.

Prerequisite(s): permission of the instructor.

Two 2-hour periods.

276 Architectural Design II 1Semester Offered: Spring

A studio-based course aimed at further developing architectural drawing and design skills. Employing a variety of digital and non-digital techniques students record, analyze and create architectural space and form in a series of design exercises. Tobias Armborst.

Prerequisite(s): permission of the instructor.

Two 2-hour periods.

Studio Work in Design, Drawing, Painting, Sculpture, and Architectural Design: III. Advanced

302 Painting II 1Semester Offered: Fall

This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting and considers various models through which painting can be considered, such as painting as a window, a map, or an object. Laura Newman.

Prerequisite(s): ART 202-ART 203, or permission of the instructor.

Two 2-hour periods.

303 Painting II 1Semester Offered: Spring

This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting. It examines the idea of painting as an ongoing development of thought; its projects are organized around the question, "How do you make the next painting?" Laura Newman.

Prerequisite(s): ART 202-ART 203, or permission of the instructor.

Two 2-hour periods.

304 Sculpture II 1Semester Offered: Fall

Art 304 is devoted to the study of perception and depiction. This is done through an intensive study of the human figure, still life, landscape, and interior space. Meaning is explored through a dialectic setup between subject and the means by which it is visually explored and presented. Within this discussion relationships between three-dimensional space and varying degrees of compressed space are also explored. In ART 305 we concentrate on the realization of conceptual constructs as a way to approach sculpture. The discussions and assignments in both semesters revolve around ways in which sculpture holds ideas and symbolic meanings in the uses of visual language. Harry Roseman

Prerequisite(s): ART 204-ART 205 or permission of the instructor.

Not offered in 2018/19.

Two 2-hour periods.

305 Sculpture II 1Semester Offered: Spring

Art 305 is devoted to the study of perception and depiction. This is done through an intensive study of the human figure, still life, landscape, and interior space. Meaning is explored through a dialectic setup between subject and the means by which it is visually explored and presented. Within this discussion relationships between three-dimensional space and varying degrees of compressed space are also explored. In Art 305 we concentrate on the realization of conceptual constructs as a way to approach sculpture. The discussions and assignments in both semesters revolve around ways in which sculpture holds ideas and symbolic meanings in the uses of visual language. Christina Tenaglia.

Prerequisite(s): ART 204-ART 205, or permission of the instructor.

Two 2-hour periods.

375 Architectural Design III 1Semester Offered: Fall

Visual Constructs. An examination of a number of visual constructs, analyzing the ways architects and urbanists have employed maps, models and projections to construct particular, partial views of the physical world. Using a series of mapping, drawing and diagramming exercises, students analyze these constructs and then appropriate, expand upon, or hybridize established visualization techniques. Tobias Armborst.

Prerequisite(s): permission of the instructor.

Two 2-hour periods.

379 Computer Animation: Art, Science and Criticism 1Semester Offered: Fall

(Same as CMPU 379, FILM 379, and MEDS 379) An interdisciplinary course in Computer Animation aimed at students with previous experience in Computer Science, Studio Art, or Media Studies. The course introduces students to mathematical and computational principles and techniques for describing the shape, motion and shading of three-dimensional figures in Computer Animation. It introduces students to artistic principles and techniques used in drawing, painting and sculpture, as they are translated into the context of Computer Animation. It also encourages students to critically examine Computer Animation as a medium of communication. Finally, the course exposes students to issues that arise when people from different scholarly cultures attempt to collaborate on a project of mutual interest. The course is structured as a series of animation projects interleaved with screenings and classroom discussions. Thomas Ellman, Harry Roseman.

Prerequisite(s): permission of the instructor.

Two 2-hour periods.