A studio course that investigates more advanced techniques and concepts in sculpture leading to individual exploration and development. Projects cover figurative and abstract problems based on both traditional themes and contemporary developments in sculpture, including: clay modeling, carving, wood and steel fabrication, casting, and mixed-media construction. Weekly in-class discussion and critiques will be held. Two two-hour class meetings per week.

Requisite: ARHA 214 or consent of the instructor. Limited to 12 students. Spring semester. Professor Keller.

A studio course that will emphasize compositional development by working from memory, imagination, other works of art and life. The use of a wide variety of media will be encouraged including, but not limited to, drawing, painting, printmaking and collage. Students will be required to create an independent body of work that explores an individual direction in pictorial construction. In addition to this independent project, course work will consist of slide lectures, individual and group critiques, in-class studio experiments and field trips.

An investigation of ideas into the development of visual imagery focusing on series of works utilizing drawing and printmaking.  Contemporary and historical references of artists' series of works will be studied in conjunction with students' individual projects, culminating in a final project consisting of a cohesive, visual body of work. Experimentation of conceptual and technical boundaries will be encouraged and explored. Discussion and critiques will be held regularly in both group and individual formats.

This course is about the centrality of the photographic image - that is, an image produced by mechanical means - in our visual experience, in the rituals, practices and representation of everyday life. Since we no longer, if ever, experience an image in isolation from our experiences of other images and mediums, the culture and idea of photography is understood as utterly diverse in its functions. We will consider photography's histories, theory and practice, especially its relation to "images that move" and its profound role in what we now understand as visual culture.

(Offered as ENGL 281, FAMS 220, and ARHA 272.)  “Foundations and Integrations” will be an annual team-taught course between a Critical Studies scholar and moving-image artist.  A requirement of the Film and Media Studies major, it will build on critical analysis of moving images and introductory production work to develop an integrated critical and creative practice.  Focused in particular around themes and concepts, students will develop ideas in both written and visual form.  The theme for spring 2016 will be “The Essay.”

This lecture course examines the history of the modernist movement from 1914 to the present in relationship to the primary ideologies of the twentieth and twenty-first centuries--socialism, capitalism, and globalism.  It considers the work of the founding figures--Wright, Mies, Gropius and Le Corbusier--and significant themes, such as the individual versus the collective; European versus American approaches; modernism beyond the West; the impact of popular culture and new technologies; and issues surrounding sustainability.

This course focuses on contemporary art in an age of globalization. In the past 25 years, the breadth and range of contemporary artistic production has expanded in surprising ways, reflecting social, political, technological, and economic upheavals on a global scale.

(Offered as RUSS 246, ARHA 246, and EUST 256.)  This course will offer a comparative overview of how visual art developed in the Soviet Union, the United States, and the “two Germanys” within the intellectual and political climate that defined the Cold War (1947-1991). By considering how the conditions of artistic production and reception differed—and also sometimes converged—under democratic capitalism in the West and state socialism in the East, we will gain new perspectives on the intersection of art and ideology in the postwar period.

(Offered as HIST 226 [EU^p]. ARHA 226, and EUST 226.) Although overlooked in military histories until recently, women have long been actively involved in warfare: as combatants, as victims, as workers, and as symbols. This course examines both the changing role of women, and the shifting constructions of “womanhood,” in four major European conflicts: the wars of Elizabeth I in sixteenth-century England, the wars and peace of Marie de Médicis in seventeenth-century France, the French Revolution, and the First World War.

This course explores the visual structures of natural things. The processes and disciplines of drawing, acrylic painting, watercolor and sculpture will be used to examine natural subjects such as plants, animals, landscape and the figure. We will work directly from life. Out-of-class trips will be frequent to access natural subject matter not found in the classroom.

Requisite: One of Drawing 1, Painting 1, or Sculpture1 (because of the diversity of subject and materials used).  Limited to 8 students. Spring semester. Senior Resident Artist Gloman.