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Art History [clear]
| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
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Evan Blackwell
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | This program will investigate the social impact of art and explore what it means to be a “successful” artist working in the 21st century. How does the artist respond to current events, politics, social structures, ecological issues and existing paradigms in order to create a healthier community? How can the artist conduct meaningful dialogue about our cultural model? How can artists create awareness, and how can art effect social change?Our focus will examine the development of post-1960’s visual, installation, video, performance and ecological art, and its effects on the art world and the broader culture. We will study a variety of artists intent on making a difference in the world. We will look beyond art galleries, museums and collectors' homes and investigate ways in which art and art practices are supported and integrated into public places. This program will research artist collaborations, collectives and communities in order to understand how artists accomplish projects beyond the fixed studio space. We will take a collaborative approach to many of the studio projects and workshops to create work that goes beyond what a single individual could normally accomplish.Constructing with readily available materials not limited to traditional "fine art" mediums, we will gain skills in 2-D and 3-D design and construction methods, and link art making processes and materials to our ideas. These projects might culminate in site-specific installations, actions, performances, or objects - or take a less material-based approach using digital means and the World Wide Web.Weekly writing assignments, lectures, seminars, studio visits, and studio workshops will build a broader understanding of what art is and what it can do for the world. Students must be as committed their reading, writing and research as they are to their own art-making. This program requires a strong work ethic and self-discipline, and students will be expected to work intensively in the studios on campus. | Evan Blackwell | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Nancy Bishop
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Course | FR–SRFreshmen - Senior | 4 | 04 | Weekend | W 12Winter | Art History I is an exploration of the surviving art and artifacts of the most ancient Western civilizations: the ancient Near East, Egypt, Greece, and Rome. The European middle ages will also be covered. In addition to a text, students will critically read primary source documents to facilitate their understanding of the cultures, religions, and the role of visual art. Students will be tested over material and, as part of a team, make a presentation to the class. | Nancy Bishop | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
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Nancy Bishop
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Course | FR–SRFreshmen - Senior | 4 | 04 | Weekend | S 12Spring | The second half of this overview of Western art examines the major movements from the Renaissance on. Tension between strong oppositional forces drive a stylistic evolution from the calm order of the structured perfection of the Van Eycks and Leonardo to the diversity of our post modern and deconstructivist world in the 21st century. | Nancy Bishop | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Ann Storey
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Program | FR–SRFreshmen - Senior | 8 | 08 | Evening | F 11 Fall | This interdisciplinary class will explore the art and art history of mosaics. An ancient art that combines practicality with beauty, the mosaic medium is currently having a renaissance as contemporary artists explore its use in architectural design and outdoor sites. In studying the history of mosaic, we will concentrate on three eras when the medium flourished: the Classical and Byzantine periods, the Arts and Crafts Movement and Art Nouveau era, and the contemporary art period. Students will be guided in a process for making both two-dimensional and three-dimensional mosaic artworks. They will also have writing projects, research assignments, and workshops to help them to write and talk about art more analytically. Art project ideas will grow out of studying the history of mosaics. Critique/analysis sessions will emphasize using design principles to make more compelling artworks. | visual arts, art history, museum studies, education, design | Ann Storey | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||
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Olivier Soustelle
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Course | FR–SRFreshmen - Senior | 4, 6 | 04 06 | Day | Su 12Summer Session II | This class surveys world art history since 1500 from the Renaissance to the 20th century. We will focus on paintings, sculpture, architecture, and the decorative arts in Europe, North America, and Asia. Credit possible in either art history or world cultures/civilizations. Students enrolled for 6 credits will complete a library research paper on an artist or art movement of their choice. This is a companion class to "Europe Since 1500." | Olivier Soustelle | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Robert Esposito
Signature Required:
Spring
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SOS | FR–SRFreshmen - Senior | 16 | 16 | Day and Evening | S 12Spring | This is a full-time, one-quarter program for students ready for intermediate to advanced work in the theory and practice of dance. Student cohorts investigate a variety of dance and theatre forms around themes of cultural empowerment, freedom, belonging, and wellness. Students research the practice, history, and sociocultural forms and functions of their chosen genre, including (but not limited to) modern dance, world dance, ballet, dance theatre, Middle Eastern, Butoh, etc., and create contemporary dance theatre rituals to be shared on a regular basis in studio forums. The content of scholarly research, scores, papers, readings, critiques, and seminars is determined in collaboration between faculty and students. Students design the syllabus for their research topics and choreographic projects in an open, but structured, learning community. Activities include classes in technique, improvisation, composition, learning new and extant modern choreography, field trips, lectures, and multimedia presentations.Expect to work on program assignments 20-30 hours per week outside of scheduled class meetings. | Robert Esposito | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Lucia Harrison and Abir Biswas
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Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | F 11 Fall | W 12Winter | This program offers an introductory study of the Earth, through geology and art. What makes the earth a habitable planet? What forces have shaped the geology of the Pacific Northwest? These questions have fascinated people for centuries. Both scientists and artists rely heavily on skills of observation and description to understand the world, and to convey that understanding to others. Geologists use images, diagrams and figures to illustrate concepts and communicate research. Artists take scientific information to inform their work, and seek to communicate the implications of what science tells us about the world. They also draw on scientific concepts as metaphors for autobiographical artworks. In the fall, we will use science and art to study basic concepts in earth science such as geologic time, plate tectonics, earth materials and how they are formed, the hydrological cycle and stream ecology. Case studies in the Cascade Mountain Range and Nisqually Watershed will provide hands-on experience. In the winter, we further this study to include soil formation, nutrient cycling, ocean basin sand currents, and climate change. Field studies will include a trip to the Olympic Peninsula where we will observe coastal processes. Geologic time and evidence of the Earth's dynamic past are recorded in rocks on the landscape. Students will learn basic techniques in observational drawing and watercolor painting. They will learn the discipline of keeping illustrated field journals to inform their studies of geological processes. They will also develop finished artworks ranging from scientific illustration to personal expression. | geology, environmental studies, education and visual arts. | Lucia Harrison Abir Biswas | Freshmen FR Sophomore SO | Fall | Fall Winter | |||
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Bob Haft
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Program | FR ONLYFreshmen Only | 16 | 16 | Day | S 12Spring | This is an entry-level arts program for freshmen who are interested in exploring what it means to make art and to be an artist. It is designed for those to whom art is entirely foreign--but who are, nonetheless, interested in learning what it's all about--as well as for those who have already taken art courses and feel a strong affinity for it. The program will have three components: studio art, art history and literature. The studio component of the program will cover basic drawing skills, both of still lives and the human figure. Art history will consist of an introduction to Western art, and will have connections with the literature that we read. Our books may include by Kurt Vonnegut, by Chaim Potok, by Wassily Kandinsky, by John Berger, by Margaret Atwood, and by Robert Irwin. | visual arts and the humanities. | Bob Haft | Tue Tue Wed Thu Fri | Freshmen FR | Spring | Spring | |||
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Marianne Bailey, Olivier Soustelle, Judith Gabriele, Steven Hendricks and Stacey Davis
Signature Required:
Spring
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | ...man is struck dumb...or he will speak only in forbidden metaphors... Friedrich Nietzsche, "On Truth and Lies in a Nonmoral Sense" Nietzsche's critique of traditional Western values--dismantling absolutes of God, Truth, Self and Language--opened up an abyss. "Only as an aesthetic phenomenon," Nietzsche argued, would "human life and existence be eternally justified." Meaning and Self would be individually crafted, as the artist crafts a work, in the space of a human existence. Life, as Rimbaud wrote, must be remade.Inspired by this notion of remaking life along aesthetic lines, we will study literature and creative writing, critical theory and philosophy, art history and music as well as French language. Students will participate in lectures, films and workshops, and choose between seminar groups in literature and critical theory or history. Each will develop a substantive individual (or group) project, and will be able to study French language at the Beginning, Intermediate or Advanced level.To better understand Modernist and Postmodernist avant-garde, we will focus on outsider works of art and ideas in 20th century France and the post-colonial world. Like the Decadents and Symbolists, modernist artists go in quest of a pure artistic language "in which mute things speak to me," as Hofmannsthal wrote, beyond concepts and representation, privileging passion over reason. This quest is influenced by worldviews and works from the broader French-speaking world, which refocuses art on its ritual origins, and on its magical potential. "Art", in the words of Martinican poet and playwright Césaire, "is a miraculous weapon."In fall and winter, we will study aesthetic theories and works from Primitivism and Surrealism to Absurdist Drama, Haitian Marvelous and Oulipo; and writers such as Mallarmé, Jabès, Artaud, Beckett, Blanchot, Derrida, Sartre, Irigaray and Foucault. We will look at historical and cultural change from WWI through the student riots of 1968 and the multi-cultural French-speaking world of today.Key themes will include: memory and the way in which it shapes, and is shaped by, identity; concepts of time and place; and the challenges and opportunities for French identity brought by immigration. We will focus on French social, cultural and intellectual history from the 1930's to the present, exploring the myths and realities of French Resistance and the Vichy Regime during World War II; the legacy of revolutionary concepts of "universal" liberty, equality and fraternity as France re-envisioned its role in Europe and the world from the 1950s to the present, including uprisings from 1968 through today; and the impact of the Franco-Algerian war on contemporary France and the post-colonial Francophone world.In spring, students have two options. They can travel to France, where they will participate in intensive language study, perform cultural and art historical fieldwork, and pursue personal research on a "quest" of their own. Alternatively, students may remain on campus to undertake a major personal project, springing from ideas, writers and artists in prior quarters. This is an excellent opportunity to complete a substantive body of creative or research oriented work, with guidance from faculty and peer critique. | Marianne Bailey Olivier Soustelle Judith Gabriele Steven Hendricks Stacey Davis | Mon Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
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Susan Aurand and Evan Blackwell
Signature Required:
Winter
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | Throughout history, art has given physical form to our beliefs about our origins and nature, and to our efforts to correctly position ourselves in the cosmos. This program will examine how art embodies our cultural and individual myths, rituals and stories. We will study this historical function of art and explore it in our own lives through intensive studio work in painting and ceramics. In the fall, students will develop technical skills in painting (using watercolor, acrylics and oils), in sculptural ceramics, and in mixed media sculpture. Students will be introduced to a variety of ceramic construction processes, clay and glaze materials, firing processes, and use of studio equipment. The class will consider the characteristics and allusions of clay in all its states as a sculptural and expressive medium. Students will advance their technical skills through weekly skill workshops and assignments. In addition, each student will create a series of two-dimensional and/or three-dimensional artworks exploring a personal theme related to myth, ritual or story. In winter, the class will further develop and build on much of the work we started in the fall. We will continue to study myths, rituals and stories and examine how cultural context affects meaning in different forms of expression. Students will expand the conceptual basis of their work as they continue to explore and build skills in both painting and ceramics. Nonconventional approaches and methods of manufacture and installation in both painting and ceramic sculpture will be encouraged. Winter quarter will culminate with individual theme projects and presentation of student work. Students entering the program must have a solid background in representational drawing (including perspective, shading, and preferably some prior experience in figure drawing), but no prior experience in ceramics or painting is required. The program is designed for students who have a strong work ethic and self-discipline. The program will function as a working community of artists. Students will be expected to work intensively in the campus studios and to be engaged and supportive of their peers. | studio arts, arts education, art history, arts management, and writing for the arts. | Susan Aurand Evan Blackwell | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
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Lisa Sweet, Andrew Reece and Rita Pougiales
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | Making meaning of our lives and the world we inhabit is the essence of being human. Through knowledge, stories and images, we manifest what it is we hold most sacred and essential in our lives. Religion, through its liturgy, music and imagery, reflects what a people hold to be essentially human. Our work will address questions like the following: What are the fundamental mysteries humans address through religious practice and expression? What are the stories being told through artistic and written material? What is the experience of the artist creating sacred images? What are the meanings that have endured over centuries? How is it that sacred images and texts provide direction for us? Our inquiry into meaning-making will center on Christianity, one religious tradition that has been a wellspring for expressions of spiritual and moral meaning, as well as a source of insight and understanding that has inspired magnificent artistic creations and sacred texts. In fall and winter, we focus on the first thirteen centuries of the tradition, from the life of Christ to the end of the Medieval period, during which the story of Christ's life, death and resurrection helped transform the Roman Empire into Europe and "the West." During this time, Christians, like Muslims and Jews a "people of the Book," gave the world some of its most inspired, and inspiring, books: the New Testament, the works of Anselm and Augustine, Dante's , and others, which will form part of our curriculum. The role of images in religious practice will form another part of our study. We'll consider the functions of icons, reliquaries, church architecture and devotional images, created solely to express and link us to the sacred. We'll consider the strategies image-makers employed to interpret scripture and early theology, as well as the anxieties and iconoclasms provoked by images that attempt to depict God. Through readings, seminars and lectures, we'll explore the history of images and objects made before the the concept of "Art" as we understand it today was established.In spring, the focus on the history and culture of Christianity through the 14th century will be directed toward more focused topics addressing meaning-making and Christianity. Students will have the option of continuing in the program in one of the following focused, full-time disciplines or themes: recent developments in theology and philosophy (Andrew), communities of faith (Rita), or studio-practice in printmaking (Lisa). Spring components of the program will be open to both continuing and newly enrolled students. | medieval history, religious studies, art history and community studies. | Lisa Sweet Andrew Reece Rita Pougiales | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||
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Lisa Sweet
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | This program continues work from fall and winter. This quarter we will examine the production and function of printed images in early modern Christian religious culture through readings, seminars, and developing skills with basic woodcut printmaking techniques. Linking theory to our artistic practice, we’ll address issues including, iconoclasm, the relationship between text and images in religious practice, image makers’ roles as translators and interpreters of scripture and religious tradition, the human desire for and anxiety about religious imagery, and we’ll explore the paradox of visually depicting that which is invisible and inexpressible. Students should expect to spend about 70% of their time working in the printmaking studio on assignments, and 30% of their time studying assigned texts. The program will include a significant writing component synthesizing and integrating ideas covered in . Because this program is a continuation of the fall and winter themes addressed in , . New students are welcome, but should have some existing familiarity with academic studies of Christian theology, history and/or medieval art appreciation in order to thrive in the program. | Lisa Sweet | Mon Tue Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Gail Tremblay
Signature Required:
Spring
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | S 12Spring | In the fields listed, Gail Tremblay offers opportunities for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of the quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. The faculty sponsor will support students wishing to do work that has 1) skills that the student wishes to learn, 2) a question to be answered, 3) a connection with others who have mastered a particular skill or asked a similar or related question, and 4) an outcome that matters. Areas of study other than those listed above will be considered on a case-by-case basis. | the arts, art history, literature and creative writing, especially poetry, and the humanities. | Gail Tremblay | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Ariel Goldberger
Signature Required:
Winter
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day and Weekend | W 12Winter | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, consciousness studies, or projects that include arts, travel or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger. Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. | humanities, arts, social sciences, interdisciplinary fields, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
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Ariel Goldberger
Signature Required:
Spring
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Contract | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, consciousness studies, or projects that include arts, travel or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger.Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. | Ariel Goldberger | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Ann Storey and Joli Sandoz
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Program | SO–SRSophomore - Senior | 8 | 08 | Evening | W 12Winter | Using masquerade as our primary metaphor, we will take an in-depth, interdisciplinary, and multicultural approach to the study of 20th-century history, art, and literary writing by women. Cultures construct gender expectations, in part through “scripts” of femininity in ways that serve a myriad of purposes; where people identifying as girls and women reject those preconceptions but also act within them, masquerade – the adoption of pretense or disguise – becomes an inevitable part of female lives.Our work will center on studying women’s creative expression in both art and literature. We will also work with the medium of collage, make masks and use them in performance art pieces, and design and play gender-themed board games in class. The final project will be a research paper and presentation.Guiding questions: How have people identifying as girls and women expressed, defied, and transformed constructions of femininity through their art and writing? What role does masquerade play not only in women’s survival, but their flourishing? How does women’s resistance help us transform ourselves? | fine arts, education, writing, history, sociology, museum work | Ann Storey Joli Sandoz | Tue Thu | Sophomore SO Junior JR Senior SR | Winter | Winter | |||
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Nancy Bishop
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Course | FR–SRFreshmen - Senior | 4 | 04 | Evening | Su 12Summer Session II | The focus of this course is the medieval manuscript and its relationship to medieval culture. Using a broadly chronological framework, we will examine different types of books produced in Europe in the Middle Ages, from Gospel books to secular romances. This study will include the text, decoration, context, and the physical book itself including some paleography and/or calligraphy. A basic understanding of history and art would be sufficient preparation. Knowledge of Latin would be helpful but is not required.Readings from reserve materials will be assigned, and it is expected that students will come to class prepared. Attendance, class participation, and mastery of concepts and vocabulary will be the basis for student evaluation.Course Goals: | Nancy Bishop | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Lara Evans and Sarah Williams
Signature Required:
Winter Spring
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | Do museums transform living, changing cultural objects into fixed, preserved, inviolate collections? What stories do museums tell? What stories do objects embody? And what stories do we, visitors, tell ourselves? How do objects housed in museums affect our sense of self-identity? What does it take to become aware of how stories we tell both frame and are framed by objects? Is it possible to heal culture and the self through the interactions of narratives and objects? What happens to historical ideas about human consciousness when we explore the mausoleum-like exhibitions of what this consciousness has exhibited as other? What happens to consciousness when it is framed by neuroscience or to the self when it encounters thinking as an evolutionary internalization of movement?We'll explore the power of narrative objects in a variety of exhibition spaces: museums, galleries, shopping malls, book/web pages. We'll identify curiosities about the relationship between art objects and self-representation, particularly shifts in cultural influences and identities as they relate to shifts between the museological and mausoleum-like aspects of exhibition spaces. A triptych is a narrative object that uses three pictorial panels to convey movement in time, space, and states of being. A triptych, of sorts, is the focus of our fall quarter work and the model for our winter field studies. Consider our left panel: in the lives and other virtual realities of William Gibson's , the effects of narrative objects range from creative to preservative to destructive. Equally significant is how these effects are framed in movements between exhibition spaces experienced as "bird-cages of the muses" and those encountered in computer generated Joseph Cornell-like bird boxes. In the center panel is the narrative power of an artwork in Sheri Tepper's science fiction novel, . Here, alien races experience the consequences when a fresco at the heart of their cultural identity has been violently misinterpreted for a millennium. Now, the right panel. Here, in Catherine Malabou's texts the shifting movement or adaptability of self is called neuroplasticity. Her analysis of Claude Levi-Strauss' fascination with two sides--graphic and plastic--of masks illustrates her definition of neuroplasticity. We'll read this post-Derridean theory of self and do fieldwork with masks available for viewing in collections in this region. During winter quarter faculty and students will explore narrative objects and self-representation through six weeks of fieldwork in museums of their choice. Museums can be exhibitions of art, history or science; even zoos and botanical gardens can be considered museums. Students will document their research on their museum and will return to compile a multi-media presentation of their research project. In studios and workshops during fall and winter quarters students can expect to learn audio recording, digital photography, drawing with color pastels, ethnographic fieldwork, mindfulness practices (yoga, meditation), creative non-fiction writing, blogging and public speaking. During spring quarter students will have the opportunity to integrate individual and peer-group projects into a core all-program curriculum. That is, in addition to the 8-credit all-program activities of seminar, lecture, visiting artists' lecture and film series, a retreat week, and related assignments (e.g., weekly seminar response essays, a theory as evocative object chapter, a mindmap and 3D triptych, and mid-term and final reflective and evaluative writing), each student will design an in-program individual or peer group project for 8 credits. These projects may include (but are not limited to) the curation and/or installation of an exhibition or collection, an internship, a studio-based artistic or technical practice, community-based learning in support of Paddle to Squaxin 2012 ( ; ), or a field-based museum-related study. Partially funded by TESC's Noosphere Award, week 7 retreat week activities will include a range of contemplative practices: 5 rhythm dance; yoga nidra; lectures with Seattle University philosopher and Zen priest, Dr. Jason Wirth; and a retreat day at SU's St. Ignatius Chapel. Students will document their individual or peer-based learning and create a multi-media presentation for week 10. | art history, art, cultural studies, writing, anthropology, feminist theory and contemplative education. | Lara Evans Sarah Williams | Mon Tue Tue Tue Wed Wed Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |
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Eric Stein and Julia Zay
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 12Spring | While the ruin can be a figure of antiquity, decay, or catastrophe, it can also function as oracle, canvas, and home. In this program, we will explore both the disordering and productive forces of ruins in our built environment, with particular attention to the ways that they become contested sites for the ownership of memory and history. We will also explore the ruin as a liminal space, not entirely present and not entirely absent, and often reclaimed by marginal cultures.What do the use and neglect of ruined sites and spaces tell us about our relationship to the events and forces that produced the ruin? How can we use the ruin as a crucible in which to invent a theory of the future?Taking an interdisciplinary approach that draws from urban studies, geography, art history and theory, critical theory, cultural studies, political economy and history, our inquiry will center on case studies that allow us to explore the contingencies underlying the material and cultural production of ruins. Along the way we will hone a reflexive awareness of our own potentially voyeuristic impulses as we position ourselves in an inquiry into ruins.We will consider the colonial and touristic romanticization of ancient ruins in Java and Cambodia, the memorialization of physical sites of catastrophe in post-WWII Poland and Germany, the working class emergence of punk subculture out of the economic decay of Thatcher's England, the segregation and collapse of Detroit and New York City in the 1970s, and the dislocations of post-Katrina New Orleans.These case studies will inform our own fieldwork on ruins. Students will develop research skills using photographic documentation, ethnographic writing, and archival studies with the goal of completing a substantial inquiry into a local site of ruin. In addition to readings and films, we will travel to museums, archives, and urban centers to investigate the material histories of contemporary ruins. | Eric Stein Julia Zay | Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Evan Blackwell
Signature Required:
Spring
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SOS | SR ONLYSenior Only | 16 | 16 | Day | S 12Spring | This program is designed for seniors who are ready for concentrated studies pertaining to the visual arts and visual culture. Students will work closely with faculty and each other to design their own visual art projects as well as related research. The group will meet together weekly for student lectures on research topics, guest artist talks and critiques. Beyond art making and critical studies, this program will provide opportunities for intensive professional development related to the visual arts. | visual arts, museum studies, arts administration, public art, arts organizations, art education and design. | Evan Blackwell | Senior SR | Spring | Spring | ||||
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Shaw Osha (Flores)
Signature Required:
Fall Winter
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SOS | JR–SRJunior - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | This is an intensive full-time, two-quarter program designed for students ready for intermediate to advanced work in theory and practice in the visual arts. Students should be ready to work independently in the studio and in their research, but must also be interested in the learning community that a classroom provides. The academic content, lectures, and instruction are a collaboration between the faculty and the students enrolled. Credits are earned through your project and research related to your project and program activities such as seminars, the Artist Lecture Series, field trips, and research presentations.Students will design their own projects including proposed materials and theoretical research, they will write papers, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding critiques.Expect to work on program assignments 20 - 30 hours per week outside of class meetings.In the fall, students will begin working on their proposed projects with the understanding that the outcome is not an a priori deal but will come through the process of experimenting and taking risks both materially and intellectually. In winter, students will seminar on art history readings, research and write weekly synthesis papers, work intensively in the studio together, attend the Artist Lecture Series, participate in demanding critiques, and produce a significant thematic body of work for a final exhibition and artist talk. | visual art, education, art history, museum studies, aesthetics and humanities. | Shaw Osha (Flores) | Junior JR Senior SR | Fall | Fall Winter | |||
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Joe Feddersen
Signature Required:
Spring
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SOS | JR–SRJunior - Senior | 16 | 16 | Day | S 12Spring | This is an intensive full-time, one-quarter program designed for students ready for intermediate to advanced work in theory and practice in the visual arts. Students should be ready to work independently in the studio and in their research, but must also be interested in the learning community of a classroom. The academic content, lectures, and instruction are collaborations between the faculty and the students enrolled. Credits are earned through your project and research related to your project and program activities such as seminars, the , field trips, and research presentations. Students will work intensively on their proposed projects. They will produce a solid body of work, write papers, present their research to the program, work intensively in the studio together, produce a solid body of work, and participate in critiques. They should expect to work 20 - 30 hours per week outside of class meetings. | Joe Feddersen | Junior JR Senior SR | Spring | Spring | |||||
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Ann Storey and Joli Sandoz
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Program | SO–SRSophomore - Senior | 8 | 08 | Evening | S 12Spring | Western women's experience is as varied as the cultures it supports. Engaging with history, writing, and art from a variety of cultural perspectives, we'll look beyond the mythical (and male) West of the pioneer, cowboy, miner, and logger to the many Wests women have lived and imagined. Ultimately, creative work by Western women has expanded U.S. critical and aesthetic discourses with new ideas, methods, and perspectives. Guiding questions: What does the modern West look like to feminist artists and writers? How does contemporary women's creativity transform the "myth of the West"? | fine arts, education, writing, history, sociology, museum work | Ann Storey Joli Sandoz | Tue Thu | Sophomore SO Junior JR Senior SR | Spring | Spring |
