What would it be like to “behold”? Without diminishing the value of objective observation, analysis, cultural and historical positioning of works of art, this seminar will offer a working hypothesis concerning the act of “beholding” as a deliberate and disciplined means of entering into the thrall of the art of individual works of art.

(Offered as ARHA 270 and BLST 293 [D].) The course of study will examine those African cultures and their arts that have survived and shaped the aesthetic, philosophic and religious patterns of African descendants in Brazil, Cuba, Haiti and urban centers in North America. We shall explore the modes of transmission of African artistry to the West and examine the significance of the preservation and transformation of artistic forms from the period of slavery to our own day.

(Offered as ARHA 253 and EUST 253). This course means to ask the question: What would it be like to engage with the paintings of Jan van Eyck, Roger van der Weyden, Hieronymous Bosch, Pieter Bruegel, Jan Vermeer and Rembrandt van Rijn as a consciously embodied person and to reclaim in such a direct encounter the rejuvenating powers of erôs, insight and wisdom residing within ourselves and in the art of works of art with which we would behold.

The human image was at the core of what are understood as the first steps into modern sculpture. We will look at the beginnings of the modernist approaches to the human image in sculpture and continue through its use by a wide variety of contemporary artists.  Students will build sculptures based on the head and the figure, working from life, as well as from memory and imagination.  From initial studies in clay from observation, students will move on to a variety of self-directed projects using the human image as central subject matter.

A course appropriate for students with prior experience in basic principles of visual organization, who wish to investigate further aspects of pictorial construction using the figure as a primary measure for class work. The course will specifically involve an anatomical approach to the drawing of the human figure, involving slides, some reading, and out-of-class drawing assignments. Two two-hour meetings per week.

Requisite: ARHA 102 or 111, or consent of the instructor. Limited to 18 students. Fall semester. Professor Sweeney.

An introduction to black-and-white still photography. The basic elements of photographic technique will be taught as a means to explore both general pictorial structure and photography’s own unique visual language. Emphasis will be centered less on technical concerns and more on investigating how images can become vessels for both ideas and deeply human emotions. Weekly assignments, weekly critiques, readings, and slide lectures about the work of artist-photographers, one short paper, and a final portfolio involving an independent project of choice.

An introduction to the fundamentals of the pictorial organization of painting. Form, space, color and pattern, abstracted from nature, are explored through the discipline of drawing by means of paint manipulation. Slide lectures, demonstrations, individual and group critiques are regular components of the studio sessions. Two three-hour meetings per week.

Requisite: ARHA 102 or 111 or consent of the instructor. Limited to 18 students. Fall semester. Professor Sweeney.

An introduction to the practice of sculpture in a contemporary and historical context. A series of directed projects will address various material and technical processes such as construction, modeling, casting and carving. Other projects will focus primarily on conceptual and critical strategies over material concerns. By the end of the course, students will have developed a strong understanding of basic principles of contemporary sculpture and have acquired basic skills and knowledge of materials and techniques.

An introduction to intaglio and relief processes including drypoint, engraving, etching, aquatint, monoprints, woodcut and linocut. The development of imagery incorporating conceptual concerns in conjunction with specific techniques will be a crucial element in the progression of prints. Historical and contemporary references will be discussed to further enhance understanding of various techniques. Critiques will be held regularly with each assignment; critical analysis of prints utilizing correct printmaking terminology is expected.

This course is a history of western architecture from Classical Greece to Post-Modern America in the form of relatively detailed considerations of two dozen buildings. After introductory discussions of the nature of architecture and various structural materials and systems, each class will be devoted to a single building.