Public Art and Collaborative Practices is a studio art course that is based on the premise that art is a form of care. It will focus on art in public space, collaborative art making practices, and activist art that addresses social and political issues. We will learn about artist collectives, socially engaged art, and practice working together in group projects. We will also analyze temporary and permanent public artworks and then make art with specific sites and communities in mind.

A course appropriate for students with prior experience in basic principles of visual organization, who wish to investigate further aspects of pictorial construction abstracting from forms including the figure, landscape and organic still life. There will be weekly drawing assignments and critiques, in addition to a final project of a life size self portrait. 

Requisite: ARHA 102 or 111, or consent of the instructor. Limited to 12 students. Fall & Spring semesters. Fall: Professor Sweeney. Spring: Senior Resident Artist Gloman.

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. Two three-hour meetings per week.

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.

Fall semester. Requisite: ARHA 102 or 111 or consent of the instructor. Limited to 12 students. Fall: Senior Resident Artist Gloman. Spring: Visiting Lecturer Gabe Phipps.

An exploration of three-dimensional concepts, form, expression and aesthetics. In a series of directed projects students will encounter a range of materials and technical processes including construction, modeling and carving. Projects will include conceptual and critical strategies integrated with material concerns. By the end of the course students will have developed a strong understanding of basic principles of contemporary sculpture and acquired the skills and technical knowledge of materials to create accomplished works of three-dimensional expression.

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 studio art course focused on complex global beading traditions and techniques. We will study how the language of beadwork is used to tell stories, connect with ancestors, provide protection, create community, signify power, and challenge injustice. This course draws on the over 75,000-year usage of beads ranging from umbilical amulets (Native American) to abacuses (Middle East and Asia) to rosaries (Europe) to lukasa (Central Africa) to Zulu love letters (South Africa).

(Offered as ARHA 147 and ASLC 143) An introduction to the history of Chinese art from its beginnings in neolithic times until the end of the twentieth century. Topics will include the ritual bronze vessels of the Shang and Zhou dynasties, the Chinese transformation of the Buddha image, imperial patronage of painting during the Song dynasty and the development of the literati tradition of painting and calligraphy. Particular weight will be given to understanding the cultural context of Chinese art.

Fall semester. Professor Morse.

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An introductory course in the fundamentals of drawing. This course will be based in experience and observation, exploring various techniques and media in order to understand the basic formal vocabularies and conceptual issues in drawing; subject matter will include still life, landscape, interior, and figure. Weekly assignments, weekly critiques, final portfolio.

Limited to 14 students with 4 seats reserved for first-year students. Fall and Spring semesters. Spring: Senior Resident Artist David Gloman and Visiting Lecturer Phoebe Helander.

An introduction to two- and three-dimensional studio disciplines through hands-on engagement with materials supplemented by lectures, demonstrations and readings. Students will work through a variety of projects exploring drawing, sculpture, painting and hybrid forms. Work will be developed based on direct observation, memory, imagination and improvisation. Formal and conceptual concerns will be an integral aspect of the development of studio work.