2012-13 Undergraduate Index A-Z

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Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
Art for Art Therapists Gail Tremblay health psychology visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 13Summer Session II	This course is designed to explore art projects that can be used in therapeutic settings with patients and clients. It will include readings and films about art used as therapy along with hands-on art projects that explore a variety of media. Students will be required to create at least five works of art using various media and to write a summary at the end of the summer session that explores what they have learned.	art therapy	Gail Tremblay	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
The Arts and Crafts Movement Ann Storey art history visual arts	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 aesthetics art history cultural studies gender and women's studies media studies philosophy visual arts writing	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) art history literature visual arts writing	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
Beyond Protest: The Art of Political Interventions Steven Niva and Amjad Faur cultural studies political science visual arts	Program	SO–SRSophomore - Senior	16	16	Day			S 13Spring		We often think of political action as public protest, in which activists directly confront opponents and demand change. By contrast, this program will explore alternative forms of political action that take place through “interventions” in public space which seek to disrupt or reconfigure symbolic or physical relations of power through direct or indirect action. This program will focus on "interventionist" traditions and practices that draw from avant-garde artistic and political movements, such as Dada and the Situationists, as well as political artists working after post-modernism. Examples of the latter type have recently made their mark in the Global Justice movements in the 1990s and the anti-war and Occupy movements of the last decade. We will look at art work, performance art, culture jamming and pranks, tactical biopolitics and creating counter-publics, among other interventions undertaken by artist/activists and collectives such as Pussy Riot, The Yes Men, Critical Arts Ensemble and Reclaim the Streets, among others. A large portion of the program will hinge on the investigation of contemporary Middle Eastern artists and their dynamic roles in socio-political interventions and protest. We will look at how artists and creative actors in this region and abroad engage and respond to the legacies of European colonial rule as well as their relationships to formalism, authenticity/identity, conceptualism and the “art market”. The program will seek to critically understand how and why these traditions seek to go “beyond” traditional forms of art and protest to intervene within culture and the politics of everyday life, and assess their potential within increasingly commodified and militarized political spaces.Students will engage these topics through lectures, seminar discussion, group projects and guest speakers engaged in new forms of political/art practice. Students will be expected to undertake serious theoretical reading and to engage in critical thinking. They will also be given the opportunity to imagine and construct their own campaigns and tactical interventions in political fields of their choice.		Steven Niva Amjad Faur		Sophomore SO Junior JR Senior SR	Spring	Spring
Black and White Photography: Summerwork Bob Haft visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session I	Black and White Photoraphy: “Summerwork” is an intensive, hands-on program for students of all skill levels wishing to learn the basics of the 35mm camera (or larger format), darkroom techniques, aesthetics, and a short history of photography. A final project involves production of a book of photographs; each student will receive a copy at quarter’s end. Emphasis is placed on learning to see as an artist does, taking risks with one’s work, and being open to new ideas.		Bob Haft	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Ceramics: Form and Function Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			In this class students will explore the sculptural and design potential of functional ceramic forms. Topics discussed will include elements of design, historical and cultural significances of functional forms, and integration of surface and form. Techniques will include wheel throwing, alteration of thrown forms, piecing parts to make complex or larger forms, and creating hand-built accoutrements.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Ceramics: Sculpting the Human Form Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		In this class students will sharpen their observation skills by rendering the human form using a live model. Topics discussed will include the ethics of using the human form in art, determining if a figure is needed in a work, and the implications of using a partial or whole body. Skills covered include construction of armatures, sculpting around an armature with solid clay, hollowing and reconstruction, and techniques for sculpting problematic areas like heads, hands, and feet. A variety of surface options will also be covered including fired and room temperature glaze.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Ceramics: Sculpture in Context Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				In this all-levels studio course, students will learn how to build three-dimensional ceramic sculptures using pinching, coil-building, slab-building, extruding, and basic wheel-throwing. Students will explore how ceramic sculptors enhance the meaning of their work through the integration of content with formal elements, materials, surface, mounting, scale, location, timing, and lighting. The course will include both individual and collaborative projects to be temporarily installed or performed on campus.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Ceramics: Throwing Intensive Aisha Harrison visual arts	Course	FR–SRFreshmen - Senior	4, 6	04 06	Evening				Su 13Summer Session I	In this all level, boot camp style, throwing intensive, students will gain confidence and skill in creating functional objects on the potter's wheel. Students will embellish these objects with textures, glazes, slips, oxides, and stains. Students will be presented with a series of design challenges to be resolved based on each student’s ability and creativity. The class will incorporate many resources drawing on the rich history of ceramic functional objects including: lectures, articles, drawing, research, discussions, critique, and a field trip to the Seattle Asian Art Museum.Advanced or highly motivated students may register for 6 credits to do additional independent work.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Chanoyu: Traditional Japanese Culture and the Way of Tea Tomoko Hirai Ulmer and Daryl Morgan cultural studies language studies visual arts Signature Required: Winter Spring	Program	FR–SRFreshmen - Senior	8, 12	08 12	Evening	F 12 Fall	W 13Winter	S 13Spring		This year-long program will examine traditional Japanese culture, aesthetics, and classical architecture through a consideration of , the Way of Tea. As a part of their study, students will learn to participate in tea preparation and drinking and will construct a tea house. During spring quarter, as the culminating event of the program, students will hold , a tea gathering, in the tea house they have constructed. The Japanese tea ceremony was developed during the 15th century and consists simply of tea preparation and drinking in a minimalist setting composed especially for the purpose. And yet is much more than simple tea drinking. It is a ritual that embodies many of the most important aspects of Japanese philosophy and aesthetics and employs iconic representations of traditional Japanese art, literature, architecture, and craft. All students will participate in our core exploration of classical Japanese culture and aesthetics but will also be offered two options for more focused inquiry. Students may choose either an emphasis on Japanese language or an emphasis on traditional Japanese architecture and building practice. Separate CRNs are available for each of these emphases. Fall: 10283 (Language) and 10284 (Wood). Winter: 20224 (Language) and 20225 (Wood). Spring: 30201 (Language) and 30202 (Wood).		Tomoko Hirai Ulmer Daryl Morgan	Mon Tue Wed Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Creating Dance Robert Esposito aesthetics art history dance linguistics somatic studies theater visual arts	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
Documentary Studies: Theory and Practice Naima Lowe communications media studies moving image visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session II	How do documentaries tell stories? How do they tell the truth? Why do we believe in the truth that they tell? How do we create compelling documentaries that examine complex issues about the world we live in? Students will learn to use a variety of creative and critical strategies to make their own short video documentaries including video production, video editing, and documentary writing/scripting techniques. Students will read several critical texts about the history and theory of documentary filmmaking, and screen a wide variety of documentary films from the US and abroad.		Naima Lowe	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Drawing from the Sea Gerardo Chin-Leo and Lucia Harrison aesthetics art history biology ecology environmental studies marine science maritime studies natural history visual arts 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
Drawing Marathon Shaw Osha (Flores) visual arts	Course	FR–SRFreshmen - Senior	4	04	Day				Su 13Summer Session I	This intensive drawing program runs for two weeks. Open to all levels, this immersive drawing class will address the importance of drawing as the basis of understanding one's experience in the world and as a language integral to all visual art. Primarily, we will study the figure as a structure in space and mark making as a process of investigation. There will be some reading and writing as well as critiques. The Drawing Marathon will push artists to a new level of working.		Shaw Osha (Flores)	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Drawing Practices: Contemporary Applications Judith Baumann visual arts Signature Required: Spring	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		Designed for intermediate to advanced drawing students, this course will focus on contemporary applications of traditional drawing practices. Building upon observational drawing skills, students will work with invented compositions and alternative materials, investigating mark making, collage methods, and color theory. Class time will be devoted to presentations, critiques, demonstrations, and in-class exercises. Students will be expected to work outside of designated class time to complete their work.		Judith Baumann	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Drawing Practices: Figurative Studies Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			This course focuses on the traditional life-drawing practices of observing and drawing the human figure from live models. Students will use a variety of media ranging from graphite to gouache as they learn to correctly anatomically render the human form. Homework assignments will supplement in-class instruction and visual presentations. Several readings will also be given throughout the quarter. While previous drawing experience is not required, it is recommended.		Judith Baumann	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Drawing Practices: Foundations Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				This course is an introduction to principles and techniques in drawing. Students will gain a working knowledge of line, shape, perspective, proportion, volume, and composition. Using both wet and dry media, students will experiment with the traditions of hand-drawn imagery. Students will work toward the development of an informed, personal style, aided by research of various artistic movements and influential artists. Students will be required to keep a sketchbook throughout the quarter and complete drawing assignments outside of studio time. Presentations on the history and contemporary application of drawing will contextualize studio work. A final portfolio of completed assignments is due at the end of the quarter.		Judith Baumann	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Fiber Arts Gail Tremblay visual arts	Program	SO–SRSophomore - Senior	16	16	Day	F 12 Fall	W 13Winter			This program is designed to introduce students to movements in contemporary fiber arts and to techniques that will allow them to create works of art using a wide variety of materials and processes. Over twenty weeks, students will study techniques for weaving, warp dyeing for ikat weaving, felting, embroidery, needle arts and basketry. Students will weave a sampler on the four-harness loom and design and make three pieces of artwork each, as well as one collaborative project with other students each quarter. Projects must use or incorporate at least three different techniques we are studying. There will be lectures and films about the history of 20th-century fiber art. All students are expected to produce a research paper with illustrations and footnotes each quarter as well as a 10-minute slide presentation about the work of a contemporary fiber artist.		Gail Tremblay	Mon Tue Thu	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Fine Art of Handmade Animated Film Ruth Hayes and Devon Damonte media arts moving image visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session I	In direct animation, a century-old camera-less form, artists use painting, scratching and myriad techniques not recommended by manufacturers to animate on motion picture film. It is an analog art that offers experiential escape from increasingly digital visual cultures. In this intensive hands-on class students will practice numerous methods of direct animation, have opportunities to invent their own techniques and create lots of footage in a short time, while studying genre masters like Len Lye, Norman McLaren, and Barbel Neubauer. For final presentations students will explore analog and digital methods for presenting their work in a grand, celebratory projection performance extravaganza.		Ruth Hayes Devon Damonte	Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
The Graphic Novel Steve Blakeslee literature visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		Over the past 30 years, the graphic novel has won numerous readers with its bold topics, innovative forms, and vivid artwork. We will explore the origins, development, and unique workings of sequential narratives, from the socially conscious woodcut novels of the 1930s (e.g., Lynd Ward’s ) to the mid-century adventures of Hergé’s to the bizarre but compelling world of Jim Woodring’s . Our overall goal is to develop an informed and critical perspective on the comics medium.		Steve Blakeslee	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Greece and Italy: an Artistic and Literary Odyssey Bob Haft art history classics study abroad visual arts 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 aesthetics art history visual arts	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: Book Arts, Letterpress Steven Hendricks literature visual arts writing Signature Required: Winter	Contract	JR–SRJunior - Senior	16	16	Day		W 13Winter			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 proposing well-conceived projects in bookbinding, artists' books, and letterpress printing are invited to contact the faculty.Students with a lively sense of self-direction, discipline and intellectual curiosity are strongly encouraged to apply.		Steven Hendricks		Junior JR Senior SR	Winter	Winter
Individual Study: Expressive Arts Andrew Buchman cultural studies dance music theater visual arts Signature Required: Winter	Contract	SO–SRSophomore - Senior	16	16	Day		W 13Winter			Please send me a preliminary proposal via email and I'll help you shape it. I often recommend projects that combine some research (on an artist or style) with some creative work (a thematic portfolio or series of songs), with some technical practice (on an instrument or in a medium or style). Internships and travel/study projects are also welcome. I'm especially interested in students who work in more than one artistic discipline intensively; for instance, music and visual art. Drafting academic statements and investigating careers--vital parts of designing your own education--can also be credit-bearing activities.		Andrew Buchman		Sophomore SO Junior JR Senior SR	Winter	Winter
Individual Study: Fiber Arts, Installation Art, Native American Studies, Creative Writing, Poetry, and Multicultural American Literature Gail Tremblay Native American studies art history cultural studies visual arts writing 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: Queer Studies, Performance Walter Grodzik American studies aesthetics anthropology architecture communications community studies consciousness studies cultural studies dance education field studies gender and women's studies literature media arts media studies moving image music queer studies somatic studies study abroad theater visual arts writing Signature Required: Fall	Contract	SO–SRSophomore - Senior	16	16	Day	F 12 Fall				Individual study offers individual and groups of 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. Individual and groups of students interested in a self-directed project, research or internships in Queer Studies or the Performing and Visual Arts should contact the faculty by email at		Walter Grodzik		Sophomore SO Junior JR Senior SR	Fall	Fall
Introduction to Serigraphy Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening				Su 13Summer Session II			Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Livelihood, Dwelling, and Skill Daryl Morgan architecture visual arts	Program	FR–SRFreshmen - Senior	4, 8	04 08	Evening				Su 13Summer Full	As human beings, we inhabit made environments which inhabit territory that is apparently bounded on the one side by technology and on the other by art. These environments are the result of ideas that have been initiated, designs that have been authored, projects that have been planned, and tools and machines that have been developed in order to alter materials to our purpose. This program will explore that perceived boundary, asking questions about the nature of craftsmanship, the dynamics of technological innovation, the difference between tools and machines, and about what it means to "dwell." This will be a hands-on learning experience engaging students directly and intensively in the practice of ancient skills, the operation of technologies from medieval to modern, and in the mechanics of innovation and invention.		Daryl Morgan	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Metal Casting Bob Woods visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session I	In this program, participants will learn about the production of sculpture as well as everyday objects through the process of casting. Students will design and construct models in plaster, clay, and wax. We will experience the process of sand casting in aluminum. We will do plaster molding, wax fabrication, and investing for (the ultimate) lost wax casting in bronze. After the work of de-gating and chasing, we will experiment with various patina applications for final presentation. This is a process-intensive studio class where we turn ideas into bronze. Beginners are welcome.		Bob Woods	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Metalworking Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Metalworking Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Metalworking (A) Bob Woods visual arts	Course	FR–SOFreshmen - Sophomore	4	04	Evening	F 12 Fall				This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Tue	Freshmen FR Sophomore SO	Fall	Fall
Metalworking (B) Bob Woods visual arts	Course	JR–SRJunior - Senior	4	04	Evening	F 12 Fall				This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging, and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design.		Bob Woods	Thu	Junior JR Senior SR	Fall	Fall
Modern and Post-Modern Art: Breaking the Rules Ann Storey art history visual arts	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
Mount Rainier: The Place and its People Jeff Antonelis-Lapp and Lucia Harrison environmental studies natural history outdoor leadership and education visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall				Mount Rainier, known locally as "the Mountain" or "Tahoma", dominates the landscape of the Puget Sound region and commands the attention, imagination and respect of its inhabitants. The relationship of people to the Mountain has varied widely: prized by Indigenous Peoples for a variety of activities; seen by European-American settlers as a potentially vast resource for timber and minerals; and visited as a wilderness and recreation destination for Puget Sound inhabitants and tourists from the world over.This 1-quarter program begins with a 3-day on-campus intensive that will provide instruction on keeping an illustrated field journal and thoroughly prepare students for a 9-day field trip to Mount Rainier National Park which immediately follows the orientation. Students must be prepared for primitive campground conditions, sleeping in tents and preparing meals outdoors without electricity. Students must also be fit for strenuous hikes and outdoor service learning work. Field trip activities will include studying the parks's natural history, hikes with and presentations by park service staff and conservation service learning.Once back on campus, we will place Mount Rainier in its historical context by studying the history of the National Park Service and Tahoma's precontact history that reaches back 8,000 years. Each student will select a species of interest to create a thematic series of expressive drawings, conduct a scientific literature review, and write a creative nonfiction essay. Drawing workshops will provide strategies for developing ideas visually and writing workshops will support all phases of the writing process.We will conclude the quarter with a week 10 4-day field trip returning to Mount Rainier (this time staying in cabins) during which students will share their species of interest portfolios.		Jeff Antonelis-Lapp Lucia Harrison	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Musical Instruments: Design, Build, Play Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			In accompaniment to the study of musical sound, participants will construct a series of simple musical instruments that incorporate a vibrating membrane, vibrating string(s), or column of air. These unique soundings will present further exploration of scales/tunings, electrification, composition and more. We will practice playing our instruments together with help from a guest artist. No previous experience (musical or otherwise) is required, and all levels (especially musical) are welcome. Required text: by Bart Hopkin.		Bob Woods	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Photography, Beginning Steve Davis media arts visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			This course emphasizes beginning-level skill development in camera use, lighting, exposure, b/w film and print processing. We will also briefly explore basic color printing and digital photography techniques. The essential elements of the class will include assignments, critiques and surveys of images by other photographers. Students of this class will develop a basic understanding of the language of photography, as a communications tool and a means for personal expression. Students must invest ample time outside of class to complete assignments.		Steve Davis	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Photography, Beginning Hugh Lentz media arts visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				This course emphasizes beginning-level skill development in camera function, exposure, and black-and-white film development and printing as well as an introduction to digital imaging. We will focus on photography's role in issues of the arts, cultural representation, and mass media. Students will have assignments, critiques, collaborations, and viewing of work by other photographers. Each student will complete a final project for the end of the quarter.		Hugh Lentz	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Photography, Beginning Color Hugh Lentz visual arts	Program	FR–SRFreshmen - Senior	4, 8	04 08	Day				Su 13Summer Session I	In this beginning color photography class, we'll emphasize skill development in camera function, film exposure, and working in a darkroom learning to print from color negatives. We’ll have workshops in color darkroom mechanics and metering for ambient light and electronic flash. Using assignments, critiques, and slide viewing of historical and contemporary artists, students will develop the tools to pursue their own projects. Students registered for 8 credits will earn the additional credit by doing independent photo projects.		Hugh Lentz	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Photography, Color and Lighting Hugh Lentz media arts visual arts Signature Required: Winter	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			In this course we'll be learning to print from color negatives, work with medium format cameras, photograph with electronic flash, and work in the studio environment. There will be assignments, critiques, and viewing the work of other photographers. All assignments and all work for this class will be in the studio with lighting set-ups. In addition to assignments, each student will be expected to produce a final project of their own choosing and turn in a portfolio at the end of the quarter.		Hugh Lentz	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Photography, Digital Steve Davis media arts visual arts Signature Required: Fall	Course	SO–SRSophomore - Senior	4	04	Evening	F 12 Fall				This course will introduce students to photographic practice through digital means. Building from students' existing photographic skills and vocabulary, we will explore image-making with both digital and film cameras and work with computers, scanners and inkjet printers. Students will create work as exhibition-quality prints, and also create a photographic portfolio for the Web.		Steve Davis	Tue Thu	Sophomore SO Junior JR Senior SR	Fall	Fall
Photography, Documentary Steve Davis media arts visual arts Signature Required: Spring	Course	SO–SRSophomore - Senior	4	04	Evening			S 13Spring		This class will explore how photography can be effectively used as a tool for creative documentation. You may work in any photographic mediums with which you are experienced (conventional B/W, color, digital). Final projects must address a particular topic (from your perspective) and clearly communicate your message to a broad audience.		Steve Davis	Tue Thu	Sophomore SO Junior JR Senior SR	Spring	Spring
Photography, Introduction to Basic Digital Steve Davis communications media arts visual arts	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session II	This class is an introduction to photographic expression using digital cameras, computers, and printers. Image-making will take the forms of digital prints and online portfolios. A brief introduction digital video, HD panoramas, and the black-and-white darkroom will also be included. You will have full access to the Digital Imaging Studio and to our darkroom facilities. Digital cameras are available through Media Loan. Class requirements include scheduled assignments, research, and a final project consisting of new, photographically-derived, digital work.		Steve Davis	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Photography Techniques Hugh Lentz media arts visual arts Signature Required: Spring	Course	SO–SRSophomore - Senior	4	04	Evening			S 13Spring		This is an intermediate to advanced photography class where students will be using older methods and techniques of the medium. We’ll be spending a significant part of this class learning about and using 4x5 cameras. Additionally, we'll be working with UV printing, lith films, pinhole cameras, and more. There will be assignments based in these processes, and each student will produce a final project. We’ll also look at the work of contemporary and historical artists using these methods.		Hugh Lentz	Mon Wed	Sophomore SO Junior JR Senior SR	Spring	Spring
Picturing Domestic Space: Sociocultural Perspectives Stephanie Kozick, Amjad Faur and Susan Aurand anthropology architecture art history cultural studies history literature psychology sociology visual arts	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
Picturing Plants Ruth Hayes and Frederica Bowcutt botany field studies media arts moving image natural history visual arts	Program	FR–SRFreshmen - Senior	16	16	Day			S 13Spring		This program offers students opportunities to learn scientific and creative approaches to representing plants including field plant taxonomy, botanical illustration, observational and expressive drawing, and animation. Through lectures, lab exercises, design problems and field trips, students will learn to recognize the diagnostic characters of common plant families, and use dichotomous keys and field guides for plant identification.In lectures, readings and critiques, participants will study the history of botanical illustration and explore aspects of how plants have been represented by artists and in popular culture. In workshops, students will practice skills in drawing, black and white illustration (pen and ink and scratchboard) and color illustration (watercolor) techniques. As living things, plants grow and change through time, and we experience them in time, so students will also learn a variety of analog and digital animation techniques to represent the temporal dimensions of plants. Students will practice these skills in the execution of a portfolio of illustrations and short animated sequences.Several one-day field trips and one multi-day field trip are the core of this program. Participation in the field trips is required and will provide students access to a variety of habitats including prairie, coniferous forest, oak woodland, riparian woodland, saltwater marsh and freshwater marsh. During and after field trips, students will apply their taxonomy, drawing, illustration and animation skills in exercises and entries in field journals and sketchbooks.		Ruth Hayes Frederica Bowcutt		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Printmaking: Materials Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				Exploring all areas of the Evergreen non-toxic printmaking studio, students will learn several processes over the course of ten weeks including monotypes, relief, intaglio, serigraphy, and letterpress techniques. Each process will build upon accumulated knowledge and increase in complexity. Proper editioning practices will be stressed. Students will study the history and contemporary applications of all methods through presentations and assigned readings. Students will work toward building a technical printmaking portfolio, highlighting both concept and craft.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Printmaking: The Broadside Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		This course will focus on the history of broadsides, or finely printed informative posters, and the study of typesetting and letterpress within a contemporary fine art print context. Students will learn how to hand set and handle 50 - 100 year-old type, how to properly print and proof blocks of text using Vandercook and Platen Presses, and how to use color theory principles in their work. In addition, students will learn basic image-making techniques including relief and screen-printing in order to integrate text and image together. Students are expected to work outside of class time approximately six hours a week in order to complete all coursework.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Printmaking: The Political Print Judith Baumann visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			This course is designed as an intensive study of the aesthetics of rebellion and revolution. Students will learn the history of print as a catalyst for social, political, and cultural change from the 18th century to the present in addition to creating their own political prints using various printmaking methods including screen-printing, relief techniques, and typesetting. The fundamental elements of graphic design will be discussed throughout the quarter. Students will also participate in regular critiques of their work and in-class technical demonstrations.		Judith Baumann	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Realizing Your Still-Life: Painting Bruce Thompson visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening				Su 13Summer Session II	This is an introductory course exploring the principles of representational painting and compositional aesthetics. Students will create personalized scenes using food and found objects as a basis for still-life painting studies. The course content will encourage experimentation with a range of achromatic techniques that provide the foundation for further exploration using color. Assignments will lead toward individually informed compositions that culminate in a final painting project. Lectures include introductions to new projects with examples of contemporary painting and art historical references. Demonstrations cover introduction to the medium of paint, composition, perspective, color theory, and technique.		Bruce Thompson	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Rites of Passage: Ceramics and Fine Metalwork Jean Mandeberg and Evan Blackwell aesthetics art history visual arts writing 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 aesthetics architecture art history sustainability studies visual arts 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: Projects in Photography and Two Dimensional Art Amjad Faur media arts media studies visual arts Signature Required: Winter	SOS	JR–SRJunior - Senior	16	16	Day		W 13Winter			This program is intended for advanced students in photography and two-dimensional art, who are ready to create a fully realized body of work in their chosen field. Since this will not be an instructional class, students should be fully versed in the materials and processes of their chosen mediums. Through a supportive environment that includes regular weekly meetings, we will focus on the critical thinking and formal/conceptual problem-solving processes needed to produce a singular body of work. We will also address the many tangled tendrils that emanate from such an endeavor.Weekly seminars on various critical readings regarding the nature of contemporary image and object making will inform and guide the work. Though there will be a required book list, we will collectively select additional readings for the quarter during the first week. The visiting artist lecture series held every Wednesday from 11:30 - 1:00 is a required part of the program. Critiques will be held as a whole group every other week. Students will be expected to fully engage in critiques and critically evaluate their own work and the work of their peers.Students will work in small research groups to facilitate a robust and engaged process of inquiry. These groups will research the historic and contemporary context of the materials and process of their work and summarize their findings in a paper and presentation. Students will spend the quarter developing a written artist’s statement that reflects process and intent. Students will also document the stages of research, development and execution of the final body of work. This documentation will be turned in at the end of the quarter in the form of a final paper along with a final body of work and finalized artist's statement.		Amjad Faur		Junior JR Senior SR	Winter	Winter
Student-Originated Studies: Visual Arts Marilyn Frasca art history visual arts 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 art history communications education literature media arts media studies psychology sociology visual arts	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 art history communications education literature media arts media studies psychology sociology visual arts	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
Trajectories in Animation, Mathematics, and Physics Ruth Hayes and Krishna Chowdary mathematics media arts moving image physics visual arts writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall	W 13Winter			"Animation follows the rules of physics - unless it is funnier otherwise." - Art Babbitt, animatorWhat are the 'rules' of physics, and where do they come from? How do animators follow these rules? How do they know when to break them?This challenging program will introduce you to the mathematical models that help describe and explain motion in the natural world. You will learn how to combine observation, reason and imagination to produce such models, explore the creative uses that can be made of them, and consider the new meanings that result. We hope to highlight similarities and differences between how artists and scientists make sense of, and intervene in, the world.We do not expect prior experience in drawing, animation or physics; the program is designed to accommodate new learners in these areas. We do expect that you can read and write at the college level and have completed math through intermediate algebra. You will all engage in common work in drawing, animation, mathematics and physics, for 14 credits. You will also be asked to choose one of two more focused tracks for the remaining two credits, either in (1) drawing or (2) mathematics. Students who choose to focus on drawing will gain two quarters experience of college-level drawing. Students who choose to focus on mathematics will cover two quarters of calculus in this program. Which ever you choose, the work will be intensive in both art and science, and you should plan to spend on average up to 50 hours per week (including class time).Through workshops, labs, seminars and lectures, you will learn basic principles of drawing, animation, mathematics and physics, while improving reading and writing skills. You will integrate these areas to represent and interpret the natural and human-created worlds, and to solve scientific and design problems in those worlds. For example, in physics labs and animation workshops you might record high-speed video to analyze motion or construct animation toys that play with the boundaries between motion and illusions of motion.In fall we will introduce you to basic principles and practices of drawing, 2D analog animation and video production, as well as the fundamentals of physics, including kinematics, forces and conservation principles. To support this work, you will also study mathematics, including ratios and proportional reasoning, geometry, graphing, functions, and concepts of calculus. In winter, you will learn 2D digital animation techniques, focus in physics on special relativity (modern models of space, time and motion), and continue to learn concepts of calculus. The program will culminate in creative projects that integrate your new technical skills with your learning in art and science.		Ruth Hayes Krishna Chowdary		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Anne de Marcken (Forbes), Marilyn Freeman and Joli Sandoz African American studies art history communications cultural studies gender and women's studies literature media arts media studies moving image visual arts writing 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 A. de Marcken Anne de Marcken (Forbes) cultural studies environmental studies literature media arts media studies moving image visual arts writing 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. 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.		Anne de Marcken (Forbes)		Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Undergraduate Projects in Critical and Creative Practices with M. Freeman Marilyn Freeman communications literature media arts media studies moving image visual arts writing 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. (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.		Marilyn Freeman		Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Undergraduate Projects in Critical and Creative Practices with N. Lowe Naima Lowe African American studies art history communications cultural studies gender and women's studies media studies moving image visual arts 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 art history gender and women's studies media studies queer studies theater visual arts 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
Visual Literacies Hirsh Diamant education media arts visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			Visual literacy skills enhance communication, advance learning, and expand thinking. They are essential for effectively navigating today's social and cultural environment. In this course we will explore Western and non-Western art while focusing on how we see, how we learn, and how visual information can be used generally in communication and specifically in education. Our study will be enhanced by weekly art and media workshops which will include work with digital photography, video, iMovie, and presentation software.		Hirsh Diamant	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Woodworking Daryl Morgan visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose.		Daryl Morgan	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Working Artists: The Business of Creativity and Art Tom Womeldorff and Lisa Sweet business and management economics visual arts	Program	JR–SRJunior - Senior	16	16	Day			S 13Spring		What does it mean to be a working artist? How does the need to make money influence our artistic expression? Are artistic freedom, authenticity and purity of expression inevitably tarnished once art is produced in anticipation of sale? From the buyer's perspective, what exactly is being bought? Is it the aesthetics of the object or is it the name of the artist being purchased, or even an intimate relationship with the artist herself? How do the artist, the gallery and the buyer determine the appropriate price? What roles do galleries and other intermediaries play in uniting the artist with the connoisseur? These are not new questions. In fact, artists such as Michelangelo depended on patronage; their artistic expression was defined and constrained by those paying them to be artists. Today this process reaches into every corner of the globe; Australian aborigines, for example, have rescaled their art to easily fit in suitcases of their tourist buyers. We will explore these issues in this program, designed for students interested in the intersection of art and business. Our focus will be the economic, cultural and production dynamics involved in making a living as an artist or entrepreneur in the art world. We will critically explore the commercial relationships and market transactions among artists, gallerists, collectors and patrons. This program is a preparatory course on how to make a living as an artist, on marketing strategies, or establishing portfolios and promotional materials. Artists who sustain life-long artistic practice and make a living in the process do so by undertaking daily--often uninspiring--practices. We will similarly engage in daily practice as artists in business, developing skills in observational drawing and personal finance. Our regular rigorous practice will serve both as metaphors for the daily work of artistic production, and as opportunities for improving foundational skills necessary for the business of art.In addition to seminar, lecture, workshops, writing and exams, each week will include twelve hours in drawing and personal finance. Sharpen your pencils, grab your calculators and join us, 8:23 am sharp.		Tom Womeldorff Lisa Sweet	Tue Wed Thu Fri	Junior JR Senior SR	Spring	Spring
Working in 3D Bob Woods visual arts	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		This studio course is an introduction to ways of thinking about and working with three dimensional form as it applies to sculpture and design. Formative principles, ideas, and methods will be presented. Work will include reading, slide presentations, hands-on exercises, and assigned projects using a variety of materials and techniques. Open to all levels of experience.		Bob Woods	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Writer's Paradise Steven Hendricks and Nancy Parkes literature visual arts writing	Program	FR–SRFreshmen - Senior	8, 16	08 16	Evening and Weekend				Su 13Summer Full	Fiction! Essays! Creative non-fiction! Academic writing! Journalism! Poetry! Dive into any of these genres in . This craft-intensive program has it all: weekly peer-critique groups; copious, ongoing feedback from faculty; seminars on fiction and creative non-fiction; workshops to sharpen skills and generate ideas; and guided, in-class, one-on-one, and online critique. Deepen your engagement with your own writing, build your close reading skills, and refine your editorial eyes and ears. Use your summer to draft a number of smaller projects; push yourself and produce a finished, publishable manuscript; get the time and support you need to make your writing project the capstone of your academic year.In addition to intensive writing and revision, you’ll get to engage in writing-related activities that celebrate the creative process and the written word: is designed for accomplished and beginning writers to engage deeply in creative processes and to build skills that they can use artistically, academically, and professionally. The program includes two weekend sessions (one per session) during which we’ll meet all day Saturday and Sunday for workshops, walks, sharing work, and discussion. Students may enroll for the full 10-week quarter or for either of the 5-week sessions.		Steven Hendricks Nancy Parkes	Mon Wed Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer

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