2012-13 Catalog

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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
Ancient Words and Works: On Being Human
Ulrike Krotscheck and Nancy Bishop
  Program FR–SRFreshmen - Senior 16 16 Day F 12 Fall W 13Winter The origins of humanism and the humanities are deeply rooted in the history and culture of the ancient Mediterranean. Contemporary society, for better and for worse, draws significantly from many aspects of this common history. This program introduces students to the foundations of humanistic investigation through the study of ancient Greece, Rome, and Etruria. Our main goal will be to study art, architecture, literature, and other known aspects of the ancient world with the goal of understanding what it meant to be human in that place and time.  Although the peoples of the ancient world lived in dramatically different circumstances than we do, the social, political, and philosophical questions they faced—as well as the answers they developed—resonate with the challenges of contemporary life.  Our work will help us to understand and appreciate why this is so.We will study the texts and monuments of Greco-Roman antiquity, seeking to understand the works of its foremost thinkers and artists, from the Bronze Age to the height of the Roman Empire. Our inquiry will help us establish a strong foundation in the literary and artistic artifacts that have long shaped our own cultural legacy, and broaden our historical perspective on this vibrant, ever-changing, often violent part of the world. Through the disciplines of archaeology, art history, literary analysis, and history, we will survey ancient Greece and Italy in a comprehensive manner. We will encounter the accomplishments of Homer, Sophocles, Thucydides, Virgil, Tacitus, Praxiteles, the architects of the Parthenon and the Pantheon, and others, not merely as relics to be appreciated but as vital, continually compelling invitations to think and feel our way into new points of view on both the modern and the ancient world. We will also investigate the less visible aspects of ancient life: religion, myth, death ritual, recreation, and the role of women and slaves.  Our aim is to gain a more comprehensive picture of this part of our history.Students will interpret textual and visual material in discussion and writing. As interpretive composition is crucial to our approach, we will provide many opportunities for writing and revising, with frequent faculty and peer review. Writing and writing workshops will be an integral part of the learning experience and students should expect to spend a large amount of time improving their writing.This program is intended for the lower-division/new student who is looking not only for a solid foundation in art history, classical literature, and the history of the ancient Mediterranean, but also to those seeking an intensive reading- and writing based experience that will prepare them for upper-level work in the humanities and social sciences.  Ulrike Krotscheck Nancy Bishop Freshmen FR Sophomore SO Junior JR Senior SR Fall Fall Winter
Art Since 1500
Olivier Soustelle
  Course FR–SRFreshmen - Senior 4, 6 04 06 Evening Su 13Summer Session II Olivier Soustelle Tue Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
The Arts and Crafts Movement
Ann Storey
  Program SO–SRSophomore - Senior 8 08 Evening F 12 Fall The Arts and Crafts movement was a utopian crusade that arose in reaction to the rational, materialist spirit of the Industrial Revolution and the Enlightenment.  It encouraged a reversion to age-old traditions of integrated working conditions, spiritual renewal, and reverence for nature.  We will examine the history of the movement while we also explore how its ideals are still relevant today.  Art projects, such as mosaics and printmaking, will be integrated to help us to understand and express program themes in an experiential way.  The main areas of focus will be art history and art. Ann Storey Tue Thu Sophomore SO Junior JR Senior SR Fall Fall
Art/Work
Julia Zay, Shaw Osha (Flores) and Kathleen Eamon
  Program FR–SOFreshmen - Sophomore 16 16 Day F 12 Fall W 13Winter - In this program, we want to think about art, and we want to think about work, but we want to think about them in a historically-specific sense.  We will be talking about art and work as practices and discourses specific to “modernity,” and we will talk about modernity as marked by the emergence of art and work as distinct from the rest of social life.  And we will ask what it means to live, work, and make art right now. Two broad disciplines, visual studies and philosophy, will orient us, and we will also look to the spirit of the (1919-1933) and its struggle to define a modernist art school curriculum as a way of making these questions concrete.  We will work our own intellectual and theoretical capacities right alongside our skills and techniques in visual and time-based art.  We will come to understand what it takes to have both intellectual and artistic , as well as how to produce our own intellectual and artistic .  In terms of coverage, the program will offer foundational work in visual and cultural studies, art and media practice, as well as 18 -20 century European philosophy.  We will study history in order to understand our own moment better.  We will begin our study with important texts that respond to the gradual rise of industry as the dominant mode of production, and we will continue our examination into the eras that follow.  We will trace the emergence of two tendencies that stand in some tension with one another: the idea of “work” undergoes some disenchantment with the rise of large-scale industry, but it also takes on a romantic aspect with the possibility of greater egalitarianism.  “Art,” and its work, is also simultaneously both debased and exalted, thought of as both epitome and critic of commodity culture, a space apart from and the ironic fulfillment of the market economy. Following our study of the we will look to the rise of conceptualism in art in the 1960s and 70s and contemporary forms and institutions of art that are grappling with the question of art as labor and artists as workers under current economic pressures. All of these case studies will support our study of how the meaning and value of art has become invested in the everyday and uses labor as an organizing principle of the aesthetic. We will pursue our themes by thinking, looking, and making.  In fall we will set our foundation by studying major philosophical and artistic movements and texts, basic skills in visual and time-based art, but also by developing our skills in reading, discussing, and writing about challenging texts in philosophy, cultural theory, and art history.  In winter quarter, we will build on our foundation. One of our central aims will be to reconcile our own utopian aspirations, inspired by the struggles of the , by developing “schools” of our own.  Each of our schools will be responsible for designing a curriculum around a specific discipline and for making collaborative “work” across those disciplines. We will study a range of theorists, artists, objects and practices. Authors include: G. W. F. Hegel, Karl Marx, Sigmund Freud, Michel Foucault, Pierre Bourdieu, Michel de Certeau, Judith Butler, Linda Nochlin, Julia Bryan-Wilson, and Miwon Kwon. Artists include: Joseph Albers, Walter Gropius and others affiliated with the Fluxus-affiliated artists, Robert Morris, Yvonne Rainer, Mika Rottenberg, Chantal Akerman, Charles Burnett, the Maysles Brothers, Fritz Lang and John Sayles. We will also read from a variety of sources in art and media history and theory, and social theory. Program work will include research, writing (both formal academic writing as well as writing experiments), and the making of visual and media art. humanities, visual studies, gender studies, cultural studies, education and communications. Julia Zay Shaw Osha (Flores) Kathleen Eamon Freshmen FR Sophomore SO Fall Fall Winter
Art/Work/Site
Julia Zay, Miranda Mellis and Shaw Osha (Flores)
  Program FR–SRFreshmen - Senior 16 16 Day S 13Spring The private, individual artist’s studio emerges out of an historically constructed ideal of art as an expression of the artist’s inner life. In the last fifty years, with the advent of institutional critique; relational aesthetics; dematerialization; installation art; earthworks; conceptualism; and performance art, there has been an increasing turn outward, away from the interiority of the artist and the studio and towards outdoor, social, public, and collaborative aesthetic engagements. This program will investigate the artist’s specific sites, including work spaces and exhibition spaces, and interrogate art’s relationship to site. By what powers and strategies do site specific artworks illuminate, localize, and focalize the politics of time and the poetics of space? The boundaries of studio walls shift and dissolve as artists move their practice into everyday life, turning commons into public studios, making visible the artist's process, and turning ordinary places into conspicuous locations that confront us with the tensions and mutabilities of public properties and local materialities, histories, temporalities, edifices, and processes.In our research-based art practice, we will work inside and outside traditional exhibition sites, as we repurpose place and engage in study, critique, historical research, commemoration, and ritualization. We’ll explore how location shapes our projects and experiment with breaking conventions; for instance, if convention demands that form follow content, what are the results of letting content follow form? If the material attributes of our projects normally dictate the kinds of spaces we work in, what kinds of works might result if we let the spaces we find and activate with our attention determine our materials and inform our forms? We will engage the above and other questions through readings in art history and theory to analyze a variety of artworks, both individual and collaborative, in terms of their relation to site. The program is structured to include critical and creative writing; critique; seminar; and lecture. Students should be prepared to read, write and make art in equal proportions. There will be a field trip May 17-19 to Portland to attend , an international conference on art and social practice whose theme this year is on publics, contexts, and institutions in relation to contemporary socially engaged art, education, and institutional practice. Julia Zay Miranda Mellis Shaw Osha (Flores) Freshmen FR Sophomore SO Junior JR Senior SR Spring Spring
Creating Dance
Robert Esposito
  Program FR–SRFreshmen - Senior 16 16 Day F 12 Fall This focused, one-quarter, movement-based program, involves progressive study in modern dance composition, theory, and technique. Prior dance experience at the beginner/intermediate level is advised.Activities will include regular classes in Laban-based Nikolais/Louis dance technique, theory, improvisation, composition, and seminar. Students will engage in vigorous physical activity based in basic anatomy and dance kinesiology, using a Pilates-based floor barre. Mind-body (somatic) work will be based on Feldenkrais’ “Awareness Through Movement” and theories of Gestalt psychology. Regular work in dance improvisation and composition will emphasize the personal and group dynamics of power-freedom-belonging-fun. Students will learn basic craft principles of composition: the formal design of space, time, shape and motion, drawing content from their own life experience and past interdisciplinary study to create original dance theatre work. Compositions will be performed weekly in performance forums that include faculty and student-centered critique and analysis.Theory, texts, and seminar will review the history, development, and methodology of dance and movement as somatic therapy, draw distinctions between art and psychology; and explore the creative process in therapy and the therapeutic efficacy of dance and other art forms. Seminar will draw on texts in psychology, art history, linguistics, poetics, and neurophysiology to develop skills in critical analysis and discourse, as well as situating texts, art and performance in their historical and sociocultural contexts. Writing will balance creative and analytical forms and research styles. The program culminates with a Week 10 showing of selected student work. dance and theatre. Robert Esposito Mon Tue Wed Thu Freshmen FR Sophomore SO Junior JR Senior SR Fall Fall
Dead People and their Stuff: Introduction to Archaeology
Ulrike Krotscheck
  Program FR–SOFreshmen - Sophomore 16 16 Day S 13Spring This program examines the material remains of past civilizations, including architecture, art, mortuary remains, and written sources. Our investigation takes us, virtually, to every corner of the globe and to many different periods in history, from the Mediterranean to Easter Island, and from the Neolithic Middle East to Colonial America. Primarily, we explore how the remains of past civilizations provide archaeologists and historians with clues that unlock the secrets of ancient societies. Students will gain a broad understanding of global prehistory and history, the rise and fall of civilizations, and human impact on the environment throughout history. We will examine how humans lived (the development of urbanism), how they organized their societies (experiments in politics), what they ate (hunter-gatherer to agriculture), how they worshiped (religion and myth), how they treated others (warfare and sacrifice), and how they explained the inexplicables of human existence (such as the afterlife).In addition, we will learn about the history of archaeological investigation and discuss archaeological methods and fieldwork techniques. These include different types of site formation processes (wet sites, dry sites, cold sites) as well as different excavation techniques, such as the differences between terrestrial and underwater archaeology. We will discuss how archaeologists and historians "date" the remains that they find using both "relative" and "absolute" dating techniques. Students will learn about the scientific methods used to find out detailed information about ancient peoples, such as what their diet was or how they dealt with injury and disease. Finally, we'll discuss the meaning of archaeology and the presentation of the past to different modern populations around the world. Students will have the opportunity to participate weekly in the work of a local archaeological lab and survey project.  We may also take an overnight field trip to the Makah Cultural Museum on the Olympic Peninsula, is schedule allows.  In addition, we will research archaeological sites around the globe using digital resources and we will learn to write site reports and draft archaeological artifacts and site plans. A research paper tailored to each student's specific interest will be the capstone of this program at the end of the quarter. This program assumes no prior knowledge of archaeology, and will be of interest to any student wishing to learn more about the ancient world, history, or who is interested in pursuing archaeological fieldwork in the future. humanities, social science, history, archaeology, and sociology. Ulrike Krotscheck Mon Wed Thu Freshmen FR Sophomore SO Spring Spring
Drawing from the Sea
Gerardo Chin-Leo and Lucia Harrison
Signature Required: Spring 
  Program FR–SRFreshmen - Senior 16 16 Day W 13Winter S 13Spring This program will examine marine environments and life (The Sea) from the perspectives of science and visual arts. This program is designed for beginning students in either discipline. The Sea accounts for a major portion of the biomass and diversity of life and plays a major role in global cycles. The Sea also is a source of inspiration for artists, and artwork provides insights into the relationships of humans to this environment. Currently, The Sea faces major crises caused by human activities such as habitat degradation and natural resource over-exploitation. Science and art can contribute to effective solutions to these major environmental problems by providing an understanding of natural phenomena and insights into how nature is perceived and valued by humans. We will examine how both visual artists and marine scientists use close observation to study The Sea and produce images to communicate the results of their work. We will also study how scientific findings can provide a foundation for expressive art and how art can effectively convey the implications of scientific findings to how humans relate with nature.Activities will develop concepts and skills of marine science and visual art and examine how each discipline informs the other. Lectures will teach concepts in marine science and aesthetics and develop a basic scientific and visual arts vocabulary. Labs and field trips to local Puget Sound beaches, the San Juan Islands and Olympic Peninsula will provide opportunities to experience The Sea and to apply the concepts/skills learned in class. Weekly workshops on drawing and watercolor painting will provide technical skills for keeping illustrated field journals and strategies for developing observations into polished expressive thematic drawings. Seminars will explore how scientific and artistic activities contribute to solving environmental issues. For example, we will study how the understanding of human relationships with The Sea can be combined with knowledge of the science underlying marine phenomena to promote effective political change (artists and scientists as activists). Other themes that explore the interaction of science and art will include the Sea as: a source of food, a metaphor for human experience, a place of work or medium of transportation, and a subject of inquiry. Most assignments will integrate science and art.In winter quarter, we will focus on marine habitats including estuaries such as the Nisqually River estuary, the inter-tidal zone and the deep sea. Spring quarter will focus on the diversity and adaptations of marine life. Both quarters will include week-long overnight field trips. This program will include an outreach component where students will contribute to environmental education by developing and presenting science and art curriculum to local schoolchildren. visual arts, education, marine science, biology and ecology. Gerardo Chin-Leo Lucia Harrison Freshmen FR Sophomore SO Junior JR Senior SR Winter Winter Spring
Greece and Italy: an Artistic and Literary Odyssey
Bob Haft
Signature Required: Winter 
  Program SO–SRSophomore - Senior 16 16 Day F 12 Fall W 13Winter S 13Spring The legacy of the Greek and Italian cultures in the Western world---from the Minoan world to that of the Italian Renaissance---continues to hold considerable sway over contemporary cultures. The great writings and powerful visual arts that were produced in Greece and Italy established standards of excellence which succeeding generations have both struggled against and paid homage to up to the present day. In this program, we will study the texts and monuments of two of the most dynamic and seminal cultures in European history: Classical Greece and Renaissance Italy. We will read and discuss writings from the periods we study (such as Homer's , Aeschylus' and Dante's as well as contemporary offerings (such as Mary Renault's ). Throughout the program we will learn about modern rediscoveries and re-interpretations of these periods, culminating in our own journey to Greece and Italy. Fall quarter ("Naissance"), we will investigate the rise of the Greek , or city-state, from the ashes of the Bronze Age Aegean civilizations, as well as that of the Etruscans, in what is now Tuscany. In addition to reading primary source materials, we will study the architecture, sculpture and painted pottery that was produced, and we will all learn the rudiments of drawing. Winter quarter ("Renaissance"), our focus will be on the Roman appropriation of Greek art and thought and the later Florentine rediscovery and interpretation of the Classical past. We'll study how 15th-century Italians used the ideas they found in classical literature and learning as the basis for revolutions both in artistic practices and the conception of humanity. We will also learn the basics of black and white photography.During the spring ("Odyssey"), we will travel to Greece and Italy for six weeks, visiting, studying and holding seminars in sites and cities synonymous with the Classical world and the Renaissance. The first three weeks will be in Greece, where we will start in Crete, focusing our attention on the Minoan Civilization. Next, we will travel through mainland Greece, visiting numerous sites including Athens, Corinth, Olympia and Delphi. The last three weeks will be spent in Italy, using Florence as our main base but making side trips to nearby sites and cities, such as Fiesole and Siena. Bob Haft Tue Wed Thu Fri Sophomore SO Junior JR Senior SR Fall Fall Winter
Iconoclasms
Lisa Sweet, Miranda Mellis and Elizabeth Williamson
  Program FR–SOFreshmen - Sophomore 16 16 Day F 12 Fall W 13Winter Iconoclasm is about more than just destroying or defacing an existing image--it also creates its own symbolic content. This program addresses iconoclasm as both a contemporary and a historical phenomenon, asking questions such as: What perceptions and convictions inspire people to attack, deface or destroy images? What is achieved by burning a Quran or toppling a statue of a government leader?This program is designed for students with interest in aesthetic philosophy and printmaking. Over the course of 20 weeks, we will explore several case studies of the destruction of images--from religious objects to 'canonized' works of art in museums, from iconoclasm borne of religious conviction, to more familiar forms associated with political dissent. We will also cover image-breaking as an artistic strategy. Our collective project will be to gain clarity on the impulses, expressions and consequences of iconoclasms.Fall quarter will provide students with a framework for understanding the history and thinking embedded in instances of iconoclasm. Students will be introduced to texts and concepts through lecture and seminar, and will begin to process ideas addressing image destruction more intentionally through writing and revising critical essays. In order to heighten an understanding of concepts as well as developing new skills and habits of thought, students will learn basic intaglio printmaking techniques, providing a hands-on context in which to understand both the power of images and some consequences of iconoclasm. They will also practice storytelling with attention to the social and historical stakes of the fraught categories of truth and fiction, ethics and aesthetics. Exploratory, craft-oriented writing exercises will be assigned on a regular basis (with accompanying readings) in order to provide participants with a sense of the possibilities of form and content. Winter quarter will represent a deeper examination of events in which iconoclastic impulses go by other names: censorship, sacrilege, art history or art-making. During this second half of the program, students will also develop culminating projects synthesizing and advancing program concepts.Though we will be looking at works of art in a historical context, this is not a traditional art history class, nor does it offer a chronological survey of Western art. About 40% of students' time will be devoted to artistic practice and 60% to rigorous reading, writing and discussion. Students should be prepared to articulate the content of their artistic work, and to use creative modes of thinking to actively engage the theoretical materials presented in the program. Lisa Sweet Miranda Mellis Elizabeth Williamson Freshmen FR Sophomore SO Fall Fall Winter
Individual Study: Fiber Arts, Installation Art, Native American Studies, Creative Writing, Poetry, and Multicultural American Literature
Gail Tremblay
Signature Required: Spring 
  Contract SO–SRSophomore - Senior 16 16 Day S 13Spring This is an opportunity 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 each 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
Individual Study: History; European Cultural Studies
Stacey Davis
  Contract JR–SRJunior - Senior 16 16 Day S 13Spring Students can complete individual study contracts in history, especially European, North African and/or American history; European cultural or art historical studies; gender studies as long as there is some historical component to the work; or issues in politics, society, religion, culture and/or immigration in contemporary Europe. History contracts can include work in historiography (theories of history) and historical methodology. Senior thesis work welcome. history, European cultural studies, gender studies, and art history. Stacey Davis Junior JR Senior SR Spring Spring
Modern and Post-Modern Art: Breaking the Rules
Ann Storey
  Program SO–SRSophomore - Senior 8 08 Evening W 13Winter S 13Spring From the dawn of modernism through the present-day, artists have evolved as creative individuals as they have simultaneously helped to transform society.  This two-quarter integrated art and art history program will examine the ground-breaking metamorphosis of modern and post-modern art within its social and political context.  We will learn what inspired artists to break with tradition and explore new ideas, materials, and methods.  Students will also be guided in a process that moves from theory to practice as we experience relevant art techniques, such as linocut printmaking, performance art, making a handmade book, collage, and assemblage. Ann Storey Tue Thu Sophomore SO Junior JR Senior SR Winter Winter Spring
Native Americans Defining Their Own Reality in Art and Literature
Gail Tremblay
  Course FR–SRFreshmen - Senior 4 04 Day Su 13Summer Session I This course will explore the way that Native Americans writers and artists represent indigenous culture in literature and the arts. Students will study poetry, fiction, film, and visual art made by Native Americans from a variety of cultures and will reflect on the way people with knowledge of growing up "Indian" in America define that experience. Students can write a paper that explores how culture is represented in the work of an indigenous artist, writer, or film-maker. Indigenous students can choose to produce creative works that represent their cultural experience and write about that experience in their final paper. Gail Tremblay Tue Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Picturing Domestic Space: Sociocultural Perspectives
Stephanie Kozick, Amjad Faur and Susan Aurand
  Program FR–SOFreshmen - Sophomore 16 16 Day F 12 Fall W 13Winter S 13Spring How do the places where we live form the essence of our conception of space? Do human actions shape rooms, or do rooms shape human actions?Domestic space is another way of saying “the rooms in a house;” those rooms, where we spend so much of our daily lives, offer occasions for thinking about a number of intriguing questions. One philosopher (Gaston Bachelard) argues that our perceptions of houses and other shelters shape our thoughts, memories, and dreams. Others have proposed that, “Domestic space is one of the most difficult terms to define.” What an invitation to inquiry!And what are the psychological implications of domestic space? Some sociologists have stated that “The history of the house is the history of the dialectic that emerges between these two impulses: shelter and identity.” What are the relationships between one's "shelter" and one's "identity"?The kitchen is a particularly fascinating room for sociocultural considerations; food preparation is common to homes in all cultures. We will consider the ethnographic work of Roderick Lawrence on kitchens, conduct ethnographic work of our own, and read delicious memoirs inspired by kitchens.Overall, this program’s curriculum will include perspectives of history, fiction and non-fiction literature, social science studies, and cinematic representations of rooms in homes, which in turn will inspire “picturing” domestic space through photography, story writing, and fine art expression. A variety of readings will provide “food” for discussions and other learning activities that concern the design, meaning, organization, and use of all the rooms in a home.In fall quarter students can expect to study the overall concept of space as it applies to domestic dwellings, and to engage photography as a form of visual anthropology. Readings, such as, Bill Bryson’s "At Home" provides a “comfy” examination of spaces as Bryson sets out “to wander from room to room and consider how each has featured in the evolution of private life.” In the same way, students will wander through rooms with a camera to act on the dynamics of space and objects. Bryson’s wanderings will join books, such as, "At Home: An Anthropology of Domestic Space," Bachelard’s "The Poetics of Space," and Busch’s "Geography of Home."Winter quarter examines a specific room in the house: the kitchen.  Its purpose, history, design, tools, and tastes support interdisciplinary study.  As both a solitary and social space, the kitchen offers a wide platform of sociocultural concerns.  Readings, drawing workshops, a film series, photography, and project work consider the variety of meanings associated with the kitchen.  Writing workshops will facilitate students’ own meaning making in memoir writing or “meditations” on the kitchen.  The kitchen is inevitably connected to food with all its physical, aesthetic, and social aspects; the Organic Farm Sustainable Agriculture Lab (SAL) affords a kitchen workspace for program food tastings and other discoveries.   Photography work will involve shooting, developing, and peer critiquing color photography concerned with kitchen culture. Instruction on lighting and creating color prints in the darkroom presented by Hugh Lentz.During spring quarter, the study of domestic space continues with students identifying and pursuing individual research plans or projects.  Students might prepare a formal research project that deals with ethnography, theater, writing, health and sustainability, poetry,or other literary approaches.  Students might also choose to engage the practices of design, drawing, painting, collage, and various forms of media to create visual representation works concerning domestic space. Each room of the structures we call “house” has special meaning, entertains special activities, and implies that there is human intent or deliberateness, a human tendency that Ellen Dissanayake ("What is Art For") connects to the very nature of what we refer to as “art.” Spring quarter will also include modes of sharing the development of individual projects through individual WordPress sites and weekly progress meetings that take up concepts of domesticity. Stephanie Kozick Amjad Faur Susan Aurand Freshmen FR Sophomore SO Fall Fall Winter Spring
Rites of Passage: Ceramics and Fine Metalwork
Jean Mandeberg and Evan Blackwell
Signature Required: Winter  Spring 
  Program JR–SRJunior - Senior 16 16 Day F 12 Fall W 13Winter S 13Spring Our long lives are marked by celebrations, ceremonies and often age-related events that we remember years later through associated objects and images. Artists are the ones who make the plaques, gravestones, amulets, awards, medals, lockets, etc. that pass through the memories of generations, and these objects are often made using ceramics or precious metals. Clay and metal are the materials we will focus on in this studio art program as we explore materials and technical processes that express our understanding of rites of passage. Which rites are public and which are private across cultures? How have these commemorations changed over time and been influenced by travel and technology?This will be a rigorous studio-based program where students will spend one quarter focusing on ceramics and one quarter focusing on fine metalworking while continually experimenting with mixing media. There will be particular emphasis on the relationship between these two studios and the way surfaces such as glazes and enamels are fired over dimensional forms, and ways the process of casting can be used in either metal or ceramics. We will consider political aspects of the collection and processing of our materials, as well as the meaning associated with them in particular commemorative forms.Art historical examples such as memento mori ("Remember your mortality") or milagros and ex votos will be closely examined through weekly writing, extensive readings and lively seminar discussion. Students should be prepared to constantly juxtapose theory and practice as they address both individual and collaborative assignments during fall and winter quarters.During spring quarter each student will either pursue a theme-based project or an internship with a practicing artist or regional arts organization. It will be the student's responsibility to write a detailed proposal for an individual project and faculty will assist students in locating and developing internships. Both paths of study in the spring will build on the conceptual framework, technical skills and studio work ethic established during fall and winter. We hope spring quarter will be a time for students to connect their visual work to the social and political realities of these ideas outside the studio. Jean Mandeberg Evan Blackwell Junior JR Senior SR Fall Fall Winter Spring
Student-Originated Studies: 3D Shaping
Robert Leverich
Signature Required: Fall  Winter  Spring 
  SOS JR–SRJunior - Senior 16 16 Day F 12 Fall W 13Winter S 13Spring This year-long program will provide a studio community and critical and technical support for students ready for intermediate to advanced independent work in 3D studio arts and design. Proposals for work in sculpture, crafts, site-specific installations, environmental art, and sustainable design are all welcome, from individuals or groups with a shared focus.Giving shape to materials is time-consuming, intellectually challenging, and physically demanding work. This program will emphasize informed, responsible, and skillful mastery of materials and shaping processes. Along with individual work and communal activities, students will take part in skills workshops that may cover drawing, advanced wood and metal shop processes, carving in wood or stone, fabrication with repurposed materials, or casting in bronze or aluminum, depending on student interest and commitment. In the first week, students will finalize plans for their independent work and supporting research and writing, sign up for workshops, and work with faculty to identify shared readings and activities. Students will be expected to produce significant bodies of thematic studio work, supporting research, artist statements and portfolios. They will be called on to work intensively in the studio together, to share their research through papers and presentations, and to participate in regular and rigorous critiques. Collaborative work will also include seminars, field trips, and guest lectures, to challenge distinctions between arts, crafts, and design, and to look for commonalities of approach and meaning. A key challenge for students in the spring quarter will be to jointly organize and mount an exhibition of program work at an off-campus venue.Program goals include well-informed and rigorously developed 3D work, technical competency, skillful responses to site and community contexts of the work, and the ability to speak for the work in writing, presentations, and other forms of public discourse. visual arts, sculpture, architecture, environmental design, and art education. Robert Leverich Junior JR Senior SR Fall Fall Winter Spring
Student-Originated Studies: Visual Arts
Marilyn Frasca
Signature Required: Fall 
  SOS SO–SRSophomore - Senior 16 16 Day F 12 Fall This SOS is an opportunity for students to design, develop, and complete a body of their own work in visual images.  As a support for this work, students will participate in weekly life drawing workshops (Tuesdays, 1-4), a weekly critique session (Wednesdays, 9-12) where students witness and discuss works-in-progress and topics in art history and imagemaking. In addition students will attend biweekly individual conferences with faculty to review work and imagine next steps. (Successful participation in these activities will be awarded 8 credits.) Each student will also identify a focus for his or her individual work in a discipline or medium with which they have some experience. This part of the program will allow for intermediate or advanced work and will require self-motivation, passion and a clearly articulated plan that can be completed in one quarter. Each student will be also responsible for a final presentation that showcases his or her independent work.  I will work with students in the beginning of fall quarter to aid them in the development of this plan.  Students will be awarded 8 credits (areas to be determined) for successful completion of this part of the program.Our first meeting will be Tuesday, September 25 at 1:00 in the Drawing Studio of the Arts Annex. Marilyn Frasca Tue Wed Thu Fri Sophomore SO Junior JR Senior SR Fall Fall
Therapy Through the Arts (daytime)
Gilda Sheppard and Carl Waluconis
  Program FR–SRFreshmen - Senior 8, 16 08 16 Day Su 13Summer Full This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks.  Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer.  Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.Students may attend either day or evening sessions. Gilda Sheppard Carl Waluconis Mon Tue Wed Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Therapy Through the Arts (evening)
Gilda Sheppard and Carl Waluconis
  Program FR–SRFreshmen - Senior 8, 16 08 16 Evening Su 13Summer Full This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks.  Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer.  Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.Students may attend either day or evening sessions. Gilda Sheppard Carl Waluconis Mon Tue Wed Thu Freshmen FR Sophomore SO Junior JR Senior SR Summer Summer
Undergraduate Projects in Critical and Creative Practices
Naima Lowe, Anne de Marcken (Forbes), Marilyn Freeman and Joli Sandoz
Signature Required: Winter  Spring 
  Program SO–SRSophomore - Senior V V Day, Evening and Weekend W 13Winter S 13Spring This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media production as methods of inquiry. Her process-based work results in short stories, personal essays, longer hybrid narratives, time-based forms of these things (films and videos), and sometimes web environments. Her current areas of inquiry include climate change and the interactions of place and identity, in particular as related to the idea of home. Students working with Anne will have opportunities to work on one or more literary projects in the early development phase. Activities will include concept development, research, preliminary structuring, proposal writing, grant writing, and critique of early draft creative writing. Students may also work with Anne to continue development of an internet-based project related to climate change. (writing and media arts) is an interdisciplinary artist working primarily with time-based art for the page, the screen, and installation. Presently, Marilyn is particularly focused on the video essay as an ascendant form for creative and critical experiments with text, sound, and image. Her immediate projects include two video essay productions and a book—  (University of Chicago Press, 2014). These projects provide opportunities for advanced students to assist with research and to enhance media arts skills through working directly with Marilyn in preproduction, production, and post-production of the video essays. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include a series of essays on place and aging; an essay on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. Please go to the catalog view for specific information about each option. Naima Lowe Anne de Marcken (Forbes) Marilyn Freeman Joli Sandoz Sophomore SO Junior JR Senior SR Winter Winter Spring
Undergraduate Projects in Critical and Creative Practices with N. Lowe
Naima Lowe
Signature Required: Winter  Spring 
  Research SO–SRSophomore - Senior V V Day, Evening and Weekend W 13Winter S 13Spring This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. Naima Lowe Sophomore SO Junior JR Senior SR Winter Winter Spring
Video in/and Performance Art
Naima Lowe
Signature Required: Winter 
  Program JR–SRJunior - Senior 16 16 Day F 12 Fall W 13Winter S 13Spring This is an opportunity for advanced students with a background in a variety of art forms to build on their skills in the history, theory and creation of visual, performance and media art with the support of a learning community. Our focus will be on the exploration of Video Art and Performance Art as forms that have histories and practices that simultaneously draw upon traditions of experimental film and avant-garde theater while staking unique allegiances to the worlds of sculpture, photography, painting, spoken word and experimental music. We will explore these practices as creative practitioners, curators, and theoreticians of Video and Performance Art. In we will study the intertwined histories of Video (including Video Installation Art) and Performance Art from the 1960s to the present. We will centrally ask: How do Performance and Video Artists uniquely explore issues of race, gender, interactivity, place and the body? We will read, screen and discuss the work of artists and art historians who will help us put Video and Performance Art into historical and theoretical context.  These explorations will be accentuated by creative exercises in performance and video, as well as short papers and collaborative research assignments. We will end Fall Quarter with a retreat during which students and faculty will work together to determine further areas of skill building and research to explore during Winter and Spring Quarters. will be made up of technique workshops, guest artists and longer form projects in which students will explore their own creative practices in depth. Lectures, seminar readings and a 10-15 page research paper will deepen our engagement of the material.  The content of the technique workshops will be developed during the fall retreat, and include Vocal Performance, Interactive Computing (Arduino/MaxMSP), Lighting for Film/Video, Costuming, Video Installation, etc. By the end of Winter Quarter each student will complete a proposal for a Spring Quarter project that will be exhibited for the Evergreen community. Students will also collectively curate and organize a screening and performance series that will take place during the Spring Quarter. Winter Quarter will also include a While in New York, we will also visit other museums, galleries and performance spaces such as The Studio Museum in Harlem, The Kitchen, The Coney Island Museum, and PS 122.  We will visit several locations as a group, as well as having opportunities for exploring the city independently. will be primarily dedicated to independent work and work-in-progress critiques of the final project, as well as the organization of the screening and performance series. For more information: Naima Lowe Junior JR Senior SR Fall Fall Winter