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Visual Arts [clear]

Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
21st Century Photography Steve Davis media arts visual arts	Program	FR–SRFreshmen–Senior	8	08	Day				Su 16 Session II Summer	This class is an introduction to photographic expression using contemporary photographic techniques, and will explore the usage of photography through social media, archival inkjet printing, multimedia, and on-demand print publishing. Students will learn to use prosumer and professional grade full-frame and medium format cameras. You will learn to edit and manage collections with Adobe Lightroom and Photoshop, and work in Photoland’s photography studios. 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—selections of which will be printed in book form, and made available to you.	Steve Davis	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
A Brief Survey of Western Art: From Cave Paintings to Urinals Amjad Faur aesthetics art history cultural studies history visual arts	Program	FR–SRFreshmen–Senior	8	08	Day				Su 16 Session II Summer	This program is designed to introduce students to the historical trajectory of Western art through its turbulent succession of movements and practices. We will explore the early development of representational images and how ancient civilizations came to lay the groundwork for almost 2,000 years of European art. The program will look closely at the broader implications of how developments in visual representation and stylistic forms were almost always tied to social, political, religious, and sexual / gendered battles happening on the ground. The program will examine the sociopolitical implications of form and content in bodily and spatial representation in painting, sculpture, and photography. From Giotto's reintroduction of Greek Classicism and Humanism into 14th century religious painting to Neoclassicism's usurping of Rococo as a visual analogy of The Reign of Terror, and the total reorganization of artistic thought and practice brought about by Dadaism and photography, students will consistently seek to identify and contextualize the underlying factors of Western art's formal transformations. We will explore the disintegration of mimetic representation in the 19th and 20th centuries and the rise of abstraction, Modernism and Postmodernism. Students will be expected to write close, critical analysis of artists and movements covered in the program. Students will write a final paper investigating the critical responses to a post-19th century artist and explore the ramifications of that artist and the public/critical responses to their work.	Amjad Faur	Mon Tue Tue Wed Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Art and Architecture in Motion: Performance Art Walter Grodzik aesthetics architecture art history dance theater visual arts Signature Required: Fall Winter	Program	FR–SRFreshmen–Senior	16	16	Day	F 15 Fall	W 16Winter			In this two quarter program, students will study the history, theory, and practice of 20th century Avant-garde performance, including Surrealist, Dada, Futurist, Cubist, Bauhaus, and other more recent contemporary Performance Art traditions. Emphasis is this program is on experiential learning through workshops stressing technique, theory, and composition and the live performance of original and reconstructed works.In the first quarter, students will study 20th century Western experimental performance art through the reading of texts, performance manifestos, and film screenings. In weekly workshops, students will investigate and practice newly-learned techniques and reconstruct historical performances. Students will also engage their learning through the use of improvisation and the composition of original performance works. There will be multiple rehearsals scheduled each week to reconstruct and create new work. Works in progress will be shared regularly in performance workshop for peer and faculty critique.In the second quarter, students will continue studies of Performance Art in order to create a body of short performances to be presented at the end of the quarter. Students will be heavily involved in both workshops and independent rehearsals in order to realize their final public presentation.This is an advanced program in practice and theory, designed particularly for theater and dance students, however, avant-garde performance works are multidimensional, and students in the performing arts, media arts, and visual arts with musical and kinesthetic sensitivity are welcome.Workshops are progressive and attendance is essential, requiring high levels of maturity, independent time management, and organization. Students need to be able to work collaboratively and should exhibit a high-level of independence. Most experiential learning cannot be "made up", and students are expected to be active and enthusiastic participants in all aspects of the program, at all meetings, and to demonstrate integrative, independent, and critical thinking.	Walter Grodzik	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Art and Archive Julia Zay art history media arts media studies visual arts writing	Program	JR–SRJunior–Senior	16	16	Day	F 15 Fall				We are living in the archive. The 21st century, age of the digital and of infinite information horizons, offers particularly fertile conditions for future artists, writers, curators, and educators to meet, collaborate, and reinvent their identities as cultural workers, memory agents, and experimental pedagogues. This program is designed to support students in the arts and humanities who are interested in forging a practice that combines creative and critical engagement with questions of memory, the writing of history, the document and the object, the history of exhibition and display, the gallery, museum, and archive.We will investigate the ways that cultural institutions, including museums, ethnographic films, and documentary photography have written "official" histories; our own creative experiments will be directed toward critiquing and intervening in these visual narratives by working closely with archival materials. Our studios and laboratories will often be museums and archives; we will visit museums in Seattle and Portland, and we will spend time almost every week in a local archive, getting to know the Washington State Archives here in Olympia as artist-researchers.This is an advanced program for students who are looking to develop their own research-based artistic practice and who want to pursue small-scale individual or collaborative projects within the context of a program structured around supporting that work through lecture/screenings, presentations, weekly writing workshop and project critique, and seminars on common readings. Students will plan independent work for the quarter under faculty guidance. Students will also share in leading class sessions that may include regular work-in-progress presentations, seminar facilitation, and other presentations of research related to program themes. Projects supported: critical/creative writing (we will do our best to blur the line between these), non-traditional writing for the moving image and performance, video and film, photography, and other visual arts.Students interested pursuing an in-program internship as part of their academic work in the program should register first, then research their options and contact the faculty to discuss further.	Julia Zay		Junior JR Senior SR	Fall	Fall
Art of Mosaic Ann Storey art history visual arts	Program	FR–SRFreshmen–Senior	8	08	Evening			S 16Spring		This interdisciplinary class will explore the art and art history of mosaics An ancient art that combines practicality with beauty, the mosaic medium is currently having a renaissance as contemporary artists explore its emergence as a sustainable medium that often uses recycled materials. It is also a functional art form that is often used in architectural design and in outdoor sites. In studying the history of mosaics, we will concentrate on three eras when mosaic art flourished: the classical, Byzantine and medieval periods; the Arts and Crafts Movement and the Art Nouveau style that grew out of it; and contemporary mosaics. Students will be guided in a process for making both two-dimensional and three-dimensional mosaic artworks and will also have writing projects, research assignments, and workshops to help them to more critically write about and talk about art. Projects ideas will grow out of studying the history of mosaics. Critique/analysis sessions will emphasize using design principles to make more compelling artworks.	Ann Storey	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
The Authentic Self: Becoming an Instrument of Change Marla Elliott and Marcella Benson-Quaziena communication cultural studies visual arts Signature Required: Spring	Program	JR–SRJunior–Senior	8, 12	08 12	Weekend	F 15 Fall	W 16Winter	S 16Spring		You are the most powerful and versatile tool you have. Do you know who are you and what you stand for? Is that who you want to be? How can you use your presence as an instrument of change? How do you know what you evoke/provoke in others? How do you move in the world with awareness of your authentic self? The ability to communicate and influence is crucial to our effectiveness as we move through many systems. This program is designed for students who want to develop skills of self-knowledge and “use of self” as an instrument of social change. Students will be asked to develop goals for using their learning in their own work or life settings and to examine how we internalize our theories of influence into our stance as agents of change. There will be opportunities to show our individual presence and to experience the impact of that presence on others. Together these art forms facilitate both self-knowledge and social change. By combining theory and practice, students in will develop powerful skills in communications, empathy, and group dynamics. We will use acting to assist us to observe carefully the nature of human feeling and interaction, and to use our observations to create insight in our audiences and ourselves; singing to make art out of breathing, to literally tune ourselves to the subtlest vibrations our bodies are capable of; songwriting to imagine words, rhythm, and melody together and to put forth our imaginations into public space; and human development theory to give us a frame for understanding self in context. We will focus on how we present our authentic selves to the outside world. We will use maskmaking, performance work, and presentation skills to explore exterior expressions of our interior selves. A major focus of this quarter will be to explore how we use ourselves to influence change. We will focus on two person and dyadic systems as we asses ourselves in intimate communities. How do we form and sustain primary relationships? How do we take care of each other? How do we connect in friendships, relationships and colleagueship? At the interpersonal level of system, boundaries are drawn between pairs: individual/individual, individual/subgroup, and individual/group. The goal of work at this level is to clarify the nature of the boundary, to understand the boundary between self and other, to define how often and with whom interaction takes place, and to notice how exchanges of influence and information occur across that boundary. *Spring quarter students taking the program for will engage in an additional 4 credit project related to working with dyadic systems. The project will include a research paper and a creative project using performing, media, and/or visual arts. Possible Texts:Csikszentmihalyi, Mihaly. 1991: HarperCollins; ISBN: 0060920432Gergen, K. (2009) . Oxford University Press, USA. ISBN: 0195305388Smith, Anna Deavere. . 1994: Anchor; ISBN: 0385473761Sotomayor, Sonya. (2013) . Vintage. ISBN: 9780345804839 Credits will be awarded in arts and culture and psychology.The Program will be offered in an Intensive Weekend format.	Marla Elliott Marcella Benson-Quaziena	Sat Sun	Junior JR Senior SR	Fall	Fall Winter Spring
Book Arts: Hand Bookbinding Steven Hendricks visual arts	Course	FR–SRFreshmen–Senior	4	04	Day				Su 16 Session II Summer	Learn the basics of the ancient and modern craft of hand bookbinding. In this five-week course, you'll learn the adhesive-free methods of coptic binding and sewing on cords and the more modern case-binding approach. You'll also learn the finer details of hand-sewing end-bands and crafting sturdy and beautiful endpapers. Combine this course with "Book Arts: Book Design" and/or "Book Arts: Letterpress Printing" to round out your love of books!	Steven Hendricks	Mon Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Book Arts: Letterpress Printing Steven Hendricks visual arts	Course	FR–SRFreshmen–Senior	4	04	Day				Su 16 Session II Summer	Learn the basic skills of the fine craft of letterpress printing. Steeped in lore, letterpress printing is a fantastic skill for poets, writers, graphic designers, lovers of typography, book artists, artists, and printmakers. Drawing on Evergreen's huge collection of mid-century metal type, you will learn to design, hand-set, and print your own projects on Evergreen's Vandercook printing presses. After developing proficiency with basic techniques, you'll be able to complete your own small broadside or folio project. Combine this class with other "Book Arts" courses to indulge your love of words and books!	Steven Hendricks	Mon Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
The Business of Art: Earning a Living as an Artist Andrew Buchman, Lee Lyttle and Jon Baumunk business and management economics music theater visual arts	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 15 Fall	W 16Winter			This program is designed for business and arts students with a strong interest in making a living as an entrepreneur, operating in the nonprofit art world, or making a career in creative industries, and bridging the conventional gaps between creativity, business sense, and social engagement. An artist or entrepreneur who understands the principles of a well-run organization and can deal effectively with management issues like economics, finance, business planning, marketing, negotiating contracts, legal issues such as free speech and fair use, applying for grants, and strategic planning, we'll find, is likely to gain more artistic and professional freedom. For-profit and nonprofit organizations are different, and we want to make sure students gain knowledge of the vast range of ways they can make a living in and around the arts. By examining art, music, and theatre worlds, we will discover structures that help foster vibrant artistic communities—but also basic business and entrepreneurship principles applicable in many other contexts, including the entertainment and media industries. We'll meet business and nonprofit leaders (often artists themselves) who bring artists and art lovers together. We'll cover concepts in economics, gain critical reasoning skills, and learn about entrepreneurship, how to start a business, and management as a profession. We'll cover topics like strategic planning, tax and copyright law, prices and markets, promotion and marketing, budgeting, fundraising, job-hunting using social media, and working with employees, customers, and boards of trustees. Financial accounting and budgeting, two skill areas covered in some depth in winter quarter, will use and develop your quantitative and symbolic reasoning skills.Activities in the program will include options for related independent creative work and research on working artists, workshops on how to create and read complex spreadsheets and budgets, career counseling, and a rich mix of critical and creative projects, including a series of visits to local arts organizations and with Evergreen alumni active in many creative endeavors, followed by further research, analysis, and critiques. Each quarter's work will include an optional week of travel and study to a big city in the United States: to New York City during the fall and Los Angeles during the winter. Students unable to travel to these cities can pursue related fieldwork in the Pacific Northwest. By the end of the program we expect you to have developed practical skills in financial literacy and career-building, be able to think creatively about ways to connect your own artistic and wage-earning work lives, have an impact on organizations in communities you care about, acquire firsthand knowledge of a diversity of successful arts initiatives, and communicate effectively in the languages of business and nonprofit administration.	Andrew Buchman Lee Lyttle Jon Baumunk	Tue Wed Thu	Freshmen FR Sophomore SO	Fall	Fall Winter
Ceramics: Expressive Portraits Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening				Su 16 Session I Summer	In this all-levels course, we will work on capturing an expression/presence with a portrait bust. Our goal will be to make a fairly realistic bust using photographs or a mirror as a basis for the sculpture. With a variety of helpful three dimensional aides, handouts, and demos, students will learn the planes of the face, the basic anatomy of the head and neck, and will work to sculpt the features to give the bust a sense of presence. We will use a basic solid building construction method utilizing a steel pipe armature. We will consider textural, fired, and cold surface treatments to finish the pieces.	Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Ceramics: Form and Function Aisha Harrison aesthetics visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 16Winter			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: Foundational Skills Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 Fall				This is an introductory studio course in forming processes and surface options in ceramics. Students will learn the hand-building techniques of pinching, coil-building, slab-building, extruding, and get an introduction to wheel-throwing. Surfaces will include terra sigillata, stains, slips and low-fire glazes. We will also cover common ceramic terminology, materials, and firing techniques.	Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Ceramics: Sculpting the Human Form Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring		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
China: Religion, Folklore, and Arts Rose Jang, Wenhong Wang and Hirsh Diamant cultural studies language studies religious studies study abroad theater visual arts	Program	FR–SRFreshmen–Senior	16	16	Day	F 15 Fall	W 16Winter	S 16Spring		With China’s emergence as one of the world’s leading political players and economic powerhouses within the last four decades, there has been increasing international attention and news coverage on current Chinese political and economic developments. Today’s China, under a new generation of leadership ushering in many unprecedented reform programs, remains an enigma for most Westerners. The program aims to unravel part of that mystery through study of China's cultural roots and ideological foundations. We will dig the roots of Chinese culture by probing into Chinese religion and folklore and examining several different forms of Chinese artistic activities, including performing arts, visual arts, and arts of self-cultivation.In fall quarter, we will study the religions and folk culture of China. We will examine the formal histories and primary tenets of Chinese “Three Teachings”: Confucianism, Daoism, and Buddhism. Mythology, fairy tales, and fantasies, transmitted either orally or in written texts, will also inform our study as symbolic expressions of spiritual forces and religious aspirations within the cultural psyche. The combined energy of official and popular religions, spiritual and “superstitious” practices, folk and secular activities—with their literary and visual manifestations—has affected Chinese society and political structure over centuries. By reading translated texts and viewing different religious and cultural activities on film, we will try to discover and dissect the interlocked relationships between religion, spirituality, philosophy, and folk culture in the Chinese contexts.In winter quarter, we will focus on the arts of China, both traditional and modern. Chinese arts have long been a necessary vessel for the outpouring of spiritual and folk energy from all facets of Chinese life and society. We will read Chinese literature and drama that grew from the repertoire of popular stories, study Chinese theatre as a continuation of Chinese storytelling and acrobatic traditions, and delve into the spiritual core of Chinese visual arts. Students will read texts as well as engage in movement workshops and artistic experiments which connect cultural studies with practical, hands-on exercises.Faculty will take interested students to China either at the end of winter quarter or in spring quarter. These students will study Chinese performing arts in one of the most prestigious theatre schools in Beijing for four weeks, and spend two more weeks traveling to the south to continue exploring Chinese culture with a focus on religion, spirituality, and folk culture. Students who do not go to China will conduct independent research projects on Evergreen's campus.A Chinese language class will be embedded within the program. Students traveling to China will continue to study Chinese language at the institutions we will visit and through daily functions and encounters, which will provide incentives and opportunities for further language study.	Rose Jang Wenhong Wang Hirsh Diamant		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Creating Dance: Chakras, Color, and Conflict Robert Esposito aesthetics dance philosophy psychology visual arts Signature Required: Winter	Program	FR–SRFreshmen–Senior	16	16	Day		W 16Winter			This full time program focuses on the creative process through movement, dance, and symbolic color theory. Using the Tantric chakra system as a dynamic map of progressive mind-body development, the syllabus builds on the fall 2015 program, , and leads to the spring 2016 program, . Although designed to interface effectively with these programs, it also stands on its own and new students with prior experience in movement, dance, or visual art are welcome. The program goal is twofold: to refine awareness of the student's educational and life path through performance art, and to facilitate a dynamic interplay of inner connectivity with outer expressiveness through movement to establish and enrich a sense of cooperative community. We'll explore how aesthetic color theories relate to the chakra system as an inspiration, structure, and methodology for creating dance that speaks deeply and eloquently to the human situation. We'll explore questions such as: What is my purpose or path in life? How can we nurture relationships that help achieve common goals through just and sustainable practices? How can we balance intuitive, creative imagination with concrete techniques producing verifiable results? The chakra system will be studied as both a dynamic structure for understanding human consciousness, and as a developmental process that locates, identifies, and provides methods for working with creative blocks. We will demystify chakra work to generate practical movement toward mind-body integration, clarity of intent, and a sense of community. Text and movement seminars explore the history, theory and practice of Tantric and Taoist philosophy, esoteric anatomy, artistic color theories, and dance kinesiology. Activities alternate, overlap, and integrate drawing/painting, selecting or making sound, and progressive classes in dance technique, theory, and composition in an experimental, non-judgmental, and collaborative workshop environment.	Robert Esposito	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Dance as Art: Making Connections Robert Esposito aesthetics dance visual arts	Program	FR–SRFreshmen–Senior	16	16	Day	F 15 Fall				This is a modern dance-based program linking the major principles of dance and visual art. Dance is primarily a kinetic art based in the human body. When presented to an audience, dance is also a visual art. Our work will be hands-on, working with both physical and perceptual forces. Embodied physical forces, like gravity, time, space, effort, motion, and momentum, will be linked to visual perceptual forces like shape, perspective, line, volume, and color. Together they present an aesthetic impression that is interpreted by an audience as sensation, emotion, thought, and behavior. Using texts and movement, we will review basic anatomy, learning the musculoskeletal structure and function of major body parts by isolating and then integrating them into a whole-body movement practice serving as an instrument of artistic design. We will gradually integrate the major principles of visual art, creating dance compositions in the studio, while simultaneously designing visual components of choreography like costuming, prop and set design, lighting, staging, and presentation. Please note: This is a movement-based program and students should be prepared for continuous, disciplined and well-focused physical activity.Dance technique, practiced daily, will begin with learning an advanced Pilates “floor-barre”, building physical strength, stamina, range of motion, body awareness, and control. We will then add aesthetic dance exercises designed to refine physical movement into an expressive, fine art practice. The architecture, notation, and functionality of dance are based in Laban and Bartenieff movement analysis. Activities include a Pilates floor barre, Nikolais-Louis dance technique, dance theory/improvisation, composition, and performance, augmented by anatomical and object drawing, a study of color theory, and designing and constructing visual components of theatrical production. Previous dance experience at the beginner/intermediate level is advised.	Robert Esposito	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Drawing: Foundations Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring		This course is an introduction to principles and techniques in drawing. Emphasis will be on learning to draw what you see through close observation. Students will be introduced to a variety of drawing materials and techniques as well as proportion, sighting, perspective, value and composition. Students will develop a context for their work through readings and research projects about influential artists. Students will be required to keep a sketchbook throughout the quarter and complete drawing assignments outside of studio time. A final portfolio of completed assignments will be due at the end of the quarter.	Aisha Harrison	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Drawing: Foundations Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 Fall				This course is an introduction to principles and techniques in drawing. Emphasis will be on learning to draw what you see through close observation. Students will be introduced to a variety of drawing materials and techniques as well as proportion, sighting, perspective, value and composition. Students will develop a context for their work through readings and research projects about influential artists. Students will be required to keep a sketchbook throughout the quarter and complete drawing assignments outside of studio time. A final portfolio of completed assignments will be due at the end of the quarter.	Aisha Harrison	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Drawing: The Human Form Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 16Winter			This course will focus on accurately rendering the human form through close observation of a live model. During this course we will start by translating what we see onto paper, and progress to using the figure to communicate content. We will deepen our understanding of what we are drawing by developing an understanding of how basic anatomy affects the shape of the body. Students will be required to keep a sketchbook throughout the quarter and complete drawing assignments outside of studio time. A final portfolio of completed assignments will be due at the end of the quarter.	Aisha Harrison	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Drawn from Life Bob Haft art history literature visual arts	Program	FR ONLYFreshmen Only	16	16	Day			S 16Spring		This is an introductory program for students who don't consider themselves artists but who wish to explore the visual arts and what it means to be an artist. It includes a component on art history, a hands-on studio arts component, reading fiction and nonfiction about the theory and practice of art, and learning to write about art. The studio component for the first half of the quarter will be devoted to the study of drawing the human figure; the last five weeks will be devoted to black-and-white film photography. Some of the main objectives of this program are instilling a basic knowledge of the history of Western art, the development of students’ skills in two-dimensional image making by learning disciplined work habits in the art studios, visual thinking, and adapting a working vocabulary for talking and writing intelligently about art. Expanding students’ visual literacy will be emphasized along with the study of traditional studio techniques. Reading materials and films have been selected to initiate class discussion and encourage an ongoing dialogue on topics related to aesthetics and art history. Our seminar texts are a combination of nonfiction works dealing with aesthetics and the practices both of making and viewing art, and novels which attempt to portray the lives of artists. In addition, practicing artists will come and talk about their lives, especially in terms of their daily activities and their decisions to become artists.	Bob Haft	Tue Wed Thu Fri	Freshmen FR	Spring	Spring
Forbidden Knowledge Susan Preciso and Mark Harrison cultural studies literature media studies theater visual arts	Program	FR–SRFreshmen–Senior	8	08	Evening and Weekend		W 16Winter	S 16Spring		Across time and cultures, humankind has struggled with taboos that obstruct the pursuit of knowledge deemed inappropriate or dangerous, but what is “forbidden” intrigues us all. In this humanities program, we will explore the ways that forbidden knowledge inspired artists throughout the ages. We will ask how the forbidden differs in the mythology of one culture to another. We will study some great works of art that have been inspired by forbidden knowledge. While powerful people and institutions have often dictated what is acceptable for us to know, the arts, literature, and mythology have been the chief mechanisms through which we have been able to explain or justify this fundamental human conflict. For example, in the creation stories of Genesis and Milton’s we encounter one of western culture’s most enduring mythic structures. and Mary Shelley's speak to a more modern dilemma about acquisition and use of knowledge.In this two quarter program we will explore this complex subject through visual art, music, poetry, film, theatre and literature. Roger Shattuck’s will provide one analysis of the stories, but we’ll read other critical approaches as well. During Winter quarter we will concentrate on the classical past; our readings will include Genesis, and In the Spring, we will turn our attention to the modern age. Our readings will include Christina Rossetti's , A.S. Byatt's , Tony Kushner's and Alan Ginsberg's . Students will be expected to read critically and well, take excellent reading notes, and write occasional critical essays on assigned topics. They will participate in seminar, lecture, workshop, and a possible field trip. This immersion in the humanities is especially suited for those students planning to teach in areas of literature or the arts. It is also for students who are curious about the ways in which artists and writers working in different genres push us to understand the world and our place in it.Credits will be awarded in literature and cultural studies.	Susan Preciso Mark Harrison	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter Spring
The Graphic Novel Steve Blakeslee literature visual arts writing	Program	FR–SRFreshmen–Senior	4, 8	04 08	Evening				Su 16 Session I Summer	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 these sequential narratives, from the socially conscious woodcut novels of the 1930s (e.g., Lynd Ward’s ) to the global adventures of Hergé’s , to Alan Moore and Dave Gibbons' 1980s game-changer, . Other works will include Scott McCloud's and recent graphic memoirs. Our overall goal is to develop an informed and critical perspective on this powerful medium. Students who register for eight credits will read and research additional graphic works or, with faculty approval, create graphic narratives of their own.	Steve Blakeslee	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Images of Japan: Arts, Literature and Cinema Stephanie Kozick and Tomoko Hirai Ulmer art history cultural studies history language studies literature media studies visual arts Signature Required: Winter	Program	FR–SOFreshmen–Sophomore	12, 16	12 16	Day	F 15 Fall	W 16Winter			This two-quarter Japanese studies program examines various Japanese art forms and how their essence was appropriated in Western culture. The ancient culture of Japan fashioned a multitude of impressions in American minds as the United States developed close economic and political relationships with Japan. This program’s curriculum incorporates Japanese literature, cinema and arts as well as comparative analyses of representations or “appropriations” of Japanese culture produced by non-Japanese writers, filmmakers, and artists. In the fall quarter we will focus on the study of Japanese literature and aesthetics. The literary and artistic works we will examine include: and from the 11 century Heian court, 16 -century tea gardens, 18 -century woodblock prints (which inspired the French Impressionist), and contemporary writers such as Murakami Haruki, Yohsimoto Banana along with artists, Isamu Noguchi and Yayoi Kusama. The films we will examine include works by Kurosawa Akira, Ozu Yasujiro and Miyazaki Hayao. In the winter quarter we will shift our focus to comparative studies, examining cultural assumptions and representations made by Western writers and artists as they appropriated elements of Japanese culture. We will study different images of Japan represented in the writing of Donald Richie and Pico Iyer, films by Doris Dörrie and Sophia Coppolla, and Impressionist art. By doing so, we will contrast perspectives from both Japan and the West, creating a format for observation, discussion and inquiry.Students may enroll for 12 credits and take an additional 4-credit Japanese language class taught by Tomoko Ulmer through Evening and Weekend Studies. Taking a Japanese class along with this program provides valuable insights into Japanese culture because of the remarkably image-oriented nature of the language.	Stephanie Kozick Tomoko Hirai Ulmer	Mon Wed Thu	Freshmen FR Sophomore SO	Fall	Fall Winter
Individual Study: Book Arts Steven Hendricks literature visual arts writing Signature Required: Winter	Contract	JR–SRJunior–Senior	16	16	Day		W 16Winter			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 or artists' books 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
Knowing the World through Thought, Sound, and Vision Joseph Tougas, Pauline Yu and Sean Williams biology cultural studies marine science music philosophy philosophy of science visual arts	Program	FR ONLYFreshmen Only	16	16	Day	F 15 Fall	W 16Winter			This first-year program focuses attention on the idea that each of us has a unique way of understanding the world because of the contexts to which we have been exposed. What is your context? How has it shaped the ways you interact with humans, institutions, and the natural world? Considering these questions opens the idea of having not just one, but several lenses through which we have built our understanding: we use all of our senses in addition to larger societal, linguistic, and biological structures to inform and guide us. The languages we use and the social structures in which we live can be thought of as systems of representation—tools that living organisms can use to get a grip on reality. In the case of language, we might say that is the material we have to work with, ( ) is the order in which we can combine those materials, and is the place where language becomes meaningful or useful. Other systems of representation—in music, visual art, and science, for example—have similar structures. How do you make sense of the world when your “lived vocabulary” includes rhythms and notes, shapes and lines, molecules and ecosystems, or color and light? How does your picture of the world change when your epistemology—your way of knowing—includes multiple systems of representation and is not limited to just words and syntax? In learning by doing, we will explore how artists use geometry and math, how musicians use physics, and how scientists engage the mystery of their environment. We will examine these systems of representation and develop new ones through creative play to explore the range of human experiences.Weekly activities will include lectures, films, and seminars. There will also be field trips in each quarter, workshops, collaborative presentations, and guest lectures. Students are expected to focus on enhancing their college-level writing skills throughout the program; each quarter's major writing assignments will require students to master the process of revision. In fall quarter, students will be introduced to important skills in approaching this material through multiple modes; issues of perspective, critical analysis, and context are important factors in deepening our understanding. As we move into winter quarter, students will have more chances to develop individual and collaborative projects focusing on particular areas of interest.	Joseph Tougas Pauline Yu Sean Williams	Mon Mon Tue Tue Wed Wed Thu Thu	Freshmen FR	Fall	Fall Winter
Mediaworks: Signifying Power and Difference on Screen(s) Naima Lowe and Julie Russo African American studies art history communication cultural studies gender and women's studies media arts media studies queer studies visual arts writing Signature Required: Fall	Program	SO–SRSophomore–Senior	16	16	Day and Evening	F 15 Fall	W 16Winter	S 16Spring		What does it mean to make moving images in an age of omnipresent media, information overload, social inequality, and global capitalism? What's the relationship between aesthetic form and power across race, class, gender, and other axes of difference? How can we understand the interplay between popular media and experimental modes? How do we critically engage with the history and traditions of media practices while testing the boundaries of established forms? What responsibilities do media artists and producers have to their subjects and audiences? How can media makers represent or transform the “real” world? Students will engage with these questions as they gain skills in film/video/television history and theory, critical analysis, media production, collaboration, and critique.This full-time, yearlong program links media theory with practice. We will explore a variety of media modes and communication strategies, primarily interrogating representations of the "real” in media texts spanning the continuum between popular entertainment and artistic practice. As creative critics, we will gain fluency in methodologies including: close reading and formal analysis; mapping narrative and genre; unpacking power from feminist, critical race, decolonial, and anti-capitalist perspectives; and cultural, historical, and technological framing of commercial and independent media production. These analytical skills will help us understand strategies that artists have employed to challenge, mobilize, and re-appropriate mainstream media forms. As critical creators, we'll learn foundational production skills and experiment with alternative approaches, including nonfiction, video art, writing for and about media, autobiography, essay films, remix, installations, and performance. In addition to production assignments, program activities will encompass analysis and criticism through screenings, readings, seminars, research, and critical writing. We'll also spend significant time in critique sessions discussing our creative and critical work.In fall, students will explore ways of seeing, listening, and observing in various formats, focusing intensively on 16mm film production and completing both skill-building exercises and short projects. These collaborative exercises and projects will have thematic and technical guidelines consistent with the program curriculum. Our production work will be grounded in the study of concepts and methodologies from media history and theory, including significant critical reading, research, and writing. In hands-on workshops and assignments, we'll analyze images as communication and commodities and investigate how images create and contest meaning in art, politics, and consumer culture.In winter, students will delve deeply into field- and studio-based video/audio production and digital editing, using the CCAM studio and HD video technologies. We'll do this learning in conjunction with studying the social and technological history of television and video. Our production work will be primarily collaborative, though students will conclude the quarter by working on an independent project proposal.In spring, as a culmination of the conceptual, collaboration, and production skills developed in fall and winter, each student will create an independent project. Possible forms include video or film, installation, web-based projects, research projects, and internships. Technical workshops, screenings, research presentations, and critique discussions will support this emerging work.	Naima Lowe Julie Russo		Sophomore SO Junior JR Senior SR	Fall	Fall
Metalworking (A) Bob Woods visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 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 Junior JR Senior SR	Fall	Fall
Metalworking (B) Bob Woods visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 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	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Nomadic Instruments; Stringed Instruments for the Traveler John Shattuck visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening				Su 16 Summer	This course will introduce students to the art of Luthiery (stringed instrument construction). Stringed instruments have long been a mainstay of traveling musicians from the minstrals of the middle ages to the touring singer-songwriters of the current era.We will be studying the origins, evolution and construction of stringed instruments in the context of their use and portability. Topics of study include the "anatomy" of stringed instruments; properties of materials used in construction; tone woods; neck and fingerboards; scale lengths; adhesives; inlay techniques; strategic use of grain pattern as design and structural elements, and surface preparation and finishes. Students will construct one of the following: a short scale backpacker style guitar, pineapple ukelele, or teardrop mandolin.	John Shattuck	Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Painting: Concepts and Techniques Bruce Thompson visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring			Bruce Thompson	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Painting in the 21st Century Lauren Boilini art history visual arts Signature Required: Spring	Program	SO–SRSophomore–Senior	16	16	Day			S 16Spring		This is a one-quarter program focusing on the development of studio skills and methods in painting and on the history and future of painting in the visual arts. Students will have the opportunity to develop technical skills in the use of oil paints and to learn about the history of painting, with emphasis on how this medium was transformed in the last century and how it is continuing to evolve now. Students will address weekly studio projects in class designed to improve their understanding of color, composition, thematic research, and studio methodology. Each student will create a series of paintings on an individual theme over the course of the quarter, accompanied by in-depth, theme-related research. This program is designed for students who have a strong work ethic and self-discipline and who are willing to work long hours in the studio on campus in company with their fellow students.	Lauren Boilini		Sophomore SO Junior JR Senior SR	Spring	Spring
Photography, Beginning Hugh Lentz media arts visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 Fall				This course emphasizes beginning-level skill development in camera function, exposure, and black-and-white film development and darkroom printing. 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 Steve Davis media arts visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring		This course emphasizes beginning-level skill development in camera use, lighting, exposure, b/w film and print processing. We will also briefly explore 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	Spring	Spring
Photography, Beginning Color Hugh Lentz visual arts	Program	FR–SRFreshmen–Senior	4, 8	04 08	Day				Su 16 Session I Summer	In this beginning color photography class, we'll emphasize skill development, learning to see more photographically and printing from color negatives. We’ll have workshops in proper camera operation, the color darkroom process, film processing 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 16Winter			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 communication media arts visual arts	Course	SO–SRSophomore–Senior	4	04	Evening	F 15 Fall				This course will introduce students to photographic practice through digital means. A brief introduction to digital video will also be included. 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 communication media arts visual arts Signature Required: Winter	Course	SO–SRSophomore–Senior	4	04	Evening		W 16Winter			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). Students will be expected to maintain an online blog/web gallery showing in-progress photography with appropriate text. 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	Winter	Winter
Photography Techniques Hugh Lentz media arts visual arts Signature Required: Spring	Course	SO–SRSophomore–Senior	4	04	Evening			S 16Spring		This is an intermediate to advanced class where students will be using older photographic methods and techniques. We’ll be spending a significant part of this class learning about and using view 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 Plants Frederica Bowcutt botany ecology field studies natural history visual arts Signature Required: Spring	Program	JR–SRJunior–Senior	16	16	Day			S 16Spring		In this program, students learn how to use Hitchcock and Cronquist's a technical key for identifying unknown plants. In the field and laboratory, they will hone their ability to recognize diagnostic characters of plant families. Students will also learn how to collect, prepare, and curate herbarium specimens. These skills will be applied to a collaborative research project. Through field trips, lectures, and readings, students will learn about Pacific Northwest plant communities, including prairies, oak woodlands, coniferous forests, sagebrush steppe, and wetlands. Students can expect to dedicate a significant amount of time to maintaining a detailed field journal, which will be used to assess their field skills. Another significant focus of the quarter is botanical illustration. Students will create a portfolio of artwork and participate in the curation of a show. In lectures, readings and critiques, participants will study the cultural history of botanical illustration. In workshops, students can expect to develop skills in pen and ink, scratchboard, and watercolor techniques. Students will practice these skills in the execution of a portfolio of illustrations. They will also learn to digitally reproduce and manipulate their images for publication. A five-day field trip to Sun Lakes State Park is critical to the work of this program. Participation in this and other field trips is required.	Frederica Bowcutt	Mon Tue Wed Fri	Junior JR Senior SR	Spring	Spring
Place, Memory, Narrative: Northwest Coast Native Literature and Printmaking Kristina Ackley and Alexander McCarty American studies Native American studies literature visual arts Signature Required: Winter	Program	FR–SRFreshmen–Senior	16	16	Day	F 15 Fall	W 16Winter			What is the relationship between landscape and art? How do people map and define the Pacific Northwest? Within the states of Washington, Oregon, Idaho, and the province of British Columbia there is a great diversity of Indigenous people: Pacific Northwest Coast, Coast Salish, Interior Plateau, and Interior Salish. Through literature and studio practice in serigraphy printmaking, or screen-printing, we will explore and research the historical and contemporary perspectives of traditional and innovative Indigenous artists from the Pacific Northwest regions. The printmaking studio component will address diverse visual languages, design strategies, and regional traditions.In this program we will study the ways that place affects art and literature, and link these processes to Indigenous nation-building. We will learn the histories of the region, from tribal creation stories to contemporary case studies of nationhood. We will critically consider dominant narratives, or the stories about Native people that have been disseminated in popular culture and public education, and compare and contrast that to the stories that Native people tell. The different cultural geographies and placemaking of Northwest Coast Native people are linked to ideas about “home” and recreate flexible understandings of space and identity.Our focus will be on writers and artists who see their art-making as both critically engaged and as part of their relationship to their communities. We will contrast visual sovereignty to intellectual and political sovereignty, defined as an Indigenous community’s or individual’s right to create a space for self-definition and determination. Students will learn about the different ways that Native communities have employed images and objects as links to history, identity, culture, function and ceremony.This is an entry-level program in which students will build critical analytical skills through rigorous reading and writing, as well as develop the foundations of studio art practice in the printmaking process of serigraphy. Working only on paper, students will learn to create both hand-drawn and computer generated stencils for use with the photo-emulsion printing techniques. Students will create a conceptual body of work with an emphasis on professional editioning practices.We welcome students who do not identify as artists, but have a deep interest, and all students will work to better understand their place in relationship to the dominant arts canon. Faculty will work with students to develop different forms of literacies, including visual, cultural, and political. These skills are often prerequisites for students who plan to become teachers.Students will be expected to integrate extensive readings, lecture notes, studio experiences, films, interviews and other sources in writing assignments. We will consider settler colonialism as a necessary context, but not the only frame for understanding Indigenous people. Rather, we will emphasize the resiliency and persistence of Indigenous nations.	Kristina Ackley Alexander McCarty		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Printmaking: Print Stratum Emily Adams visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring		In this introductory course, students will gain hands-on experience and technical skills by creating a body of print editions and monotypes. Students will be exposed to the history of serigraphy (screen-printing) and current contemporary art applications through presentations, lectures, and discussion. Assignments will focus on serigraphy technique in combination with physical and formal qualities of collage. At the end of the session, students will present and participate in critique to investigate the concept and craft of their printmaking portfolio.	Emily Adams	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Printmaking: Serigraphy Alexander McCarty visual arts	Course	FR–SRFreshmen–Senior	4	04	Day				Su 16 Session II Summer	This course is an introduction to the printmaking process of serigraphy, or screen-printing. Working only on paper, students will learn to create both hand-drawn and computer generated stencils for use with the photo-emulsion printing techniques. Students will explore, research and create a conceptual body of work with an emphasis on professional editioning practices. A final portfolio of student work is due upon completion of the course.	Alexander McCarty	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Professional Practices for Artists Liz Sales visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening				Su 16 Session I Summer	What does it mean to be a working artist today? This class will examine and interrogate the rules and systems within the art world. An Evergreen State College graduate visiting from New York City, with an extensive background in production and visual art, will help each student create a highly personal strategic plan for maintaining an art practice that is engaging, long lasting, and financially viable. Topics will include career options for creative professionals; writing cover letters, resumes, and CVs as well as artist statements and press releases; creating portfolios, show reels, and demo reels; preparing for a studio visit; planning exhibitions in traditional and nontraditional exhibition spaces; working with nonprofit organizations, galleries, dealers, agents, and consultants; creating and maintaining an online presence; creating and maintaining a community; writing proposals and grants; dealing with contracts, agreements, and other legal issues; participating in residencies and public art projects; and dealing with failure, envy, stress, and success. Faculty e-mail: salesl@evergreen.edu	Liz Sales	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Reality and Dreams: Seeing the Inner and the Outer Bob Haft and Donald Middendorf consciousness studies literature psychology visual arts Signature Required: Winter	Program	SO–SRSophomore–Senior	16	16	Day	F 15 Fall	W 16Winter			From the Old Testament to Sigmund Freud, from August Kekulé’s vision of the ouroboros to Salvador Dali’s melting clocks, dreams have been an integral part of both an individual’s well-being and the creative spirit. Dreams have manifested themselves as clues to personal problems, solutions to stubborn intellectual conundrums, and even as works of art. What role do they play in our own inner and outer lives?This two-quarter, interdisciplinary program will provide an opportunity for students who are interested in doing intensive work in the areas of dreams and photography to cultivate awareness of the interplay of inner and outer experience through challenging readings, creative work, and self-reflection. We will examine our beliefs about the nature of reality as manifest in the expressive arts and physical reality from a variety of disciplinary viewpoints including photography, psychology, literature, and biology.During fall quarter, we will study the basics of black-and-white photography as a means of learning how to see and appreciate the world around us. We’ll also learn how we (and others throughout history) have used dreams to “see” our inner world. We’ll use Greek literature to examine the emotional and behavioral interactions that we call “love” and try to understand the concept of “light” from both a physical and philosophical perspective. During winter quarter, we’ll continue and deepen our study and use of photography and dreams and include a study of relevant topics in biology such as neuroplasticity, epigenetics, and the physiology of the eye. We’ll also examine alternative areas of research such as lucid dreaming and paranormal phenomena, as well as the approach of the Surrealists to examining the nature of reality through art and dreams. Students will have the opportunity to give a presentation to their peers using the skills learned during the two quarters.This is an experiential and rigorous full-time program in which students will be expected to participate in all program activities and document 48 hours of program-related work per week.	Bob Haft Donald Middendorf		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Red Pacific Kristina Ackley and Alexander McCarty Native American studies history literature visual arts	Program	FR–SOFreshmen–Sophomore	16	16	Day			S 16Spring		Our work in this program draws inspiration from Paul Gilroy's and Jace Weaver's . Gilroy and Weaver place Africans and Native people at the center of Atlantic world history. In this program, we will do similar work with Indigenous people and the Pacific world. The Pacific ocean is not only a conduit for the physical movement of people and ideas, but also serves as a highway for connections between cultures. How can we understand a sense of place that is based both on landscape and on seascape? On vessels from voyaging canoes to tall ships, cultural and intellectual life were nourished by the exchange and circulation of ideas. We will learn about the multiple histories of the Pacific world, considering in more depth the connections between the Indigenous people of the Coast Salish region, Hawai’i, Australia, and Aotearoa. In our studies of the Pacific world, we will place Indigenous people at the center of our narrative through a focus on art, literature, and history. We will examine the Red Pacific as part of a larger story of globalization and the worldwide movement of Indigenous people and their technologies, ideas, and material goods. Indigenous people sailed the sea for multiple purposes in the last five centuries: as voyagers, adventurers, slaves/captives, soldiers, artists, and public intellectuals. We will particularly work to understand the canoe as transportation, cultural artifact, and symbol of sovereignty and nation-building. Students will analyze contemporary examples of Indigenous connections such as the Tribal Canoe Journeys, the Gathering of Indigenous Artists that was held at Evergreen in 2001, and recent voyaging of the Polynesian triangle by double-hulled waka.Students will be expected to integrate extensive readings, lecture notes, films, interviews and other sources in writing assignments. Students will learn about the different ways that Native communities have employed images and objects as links to history, identity, culture, function and ceremony. Students will develop the foundations of studio art practice in Northwest Native design and relief printmaking techniques. Students will explore and research the use of relief printmaking by indigenous artists of the Pacific world and will create a conceptual body of work with an emphasis on professional editioning practices. We welcome students who do not identify as artists, but have a deep interest, and all students will work to better understand their place in relationship to the dominant arts canon. Faculty will work with students to develop different forms of literacies, including visual, cultural, and political. These skills are often prerequisites for those who wish to be involved with artistic practice or plan on teaching.	Kristina Ackley Alexander McCarty		Freshmen FR Sophomore SO	Spring	Spring
Regional Styles of Northwest Native Design and Woodcarving Alexander McCarty Native American studies art history visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening and Weekend				Su 16 Session I Summer	Visiting Faculty and Makah master carver Alex McCarty will lead this course on design and woodcarving, focusing on the local cultural perspectives of mask making and 3D sculpture. Students will explore regional Northwest Native styles and form-line design, and examine masks, figures, totems, and rattles from local traditions as inspiration to their own concepts and designs. Students will carve their own 3D sculpture, each one unique to the individual's identity, culture and/or personal creative expression. During the first intensive weekend students will learn basic carving skills making a cedar feather and begin rough shaping their sculpture using both contemporary and traditional Northwest coast carving tools. The second and final intensive weekend students will use their original two-dimensional concept designs and transfer them onto their three-dimensional woodcarvings focusing on more advanced carving and finishing skills.	Alexander McCarty	Fri Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
River Reciprocity Carri LeRoy and Lucia Harrison aesthetics ecology environmental studies field studies natural history visual arts	Program	FR ONLYFreshmen Only	16	16	Day	F 15 Fall				This interdisciplinary science and visual arts program is focused on rivers, streams, and watersheds and is designed for beginning students in art and ecology. Students will explore the role of art and science in helping people develop a deep and reciprocal relationship with a watershed. We will study physical stream characteristics that affect the distributions and relationships among biological organisms. We will develop observational skills in both art and science as well as keep illustrated field journals that are inspired by a connection to a specific stream.The first half of the program focuses on the Nisqually River watershed. Through readings and field studies, students will learn the history of the watershed, study concepts in stream ecology, learn to identify native plants in the watershed, and learn about current conservation efforts. We will work with local K-12 schools to conduct water quality testing, identify aquatic macroinvertebrates, and provide environmental education to elementary school students. The study of freshwater ecology will include basic water chemistry, stream flow dynamics, primary productivity, organic matter and nutrient dynamics, aquatic insect taxonomy, ecological interactions, current threats to freshwater ecosystems, and ecological restoration. The program will focus on current research in riparian zones, streams, rivers, and watersheds. Students will have opportunities to be involved in small-scale group research projects in stream ecology. An overnight field trip will be organized to provide in-depth experiences in the field and study of rivers on the Olympic Peninsula.Students will develop beginning drawing skills and practice techniques for keeping an illustrated field journal. They will work in charcoal, chalk pastel, watercolor, and colored pencil. They will explore strategies for using notes and sketches to inspire more finished artworks. Through lectures and readings, students will study artists whose work is inspired by their deep connection to a place. Each student will visit a local stream regularly and, in the second half of the quarter, will create a series of artworks or an environmental education project that gives something back to their watershed.	Carri LeRoy Lucia Harrison		Freshmen FR	Fall	Fall
Russian, Beginning I, II, III Elena Smith cultural studies history language studies music visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 Fall	W 16Winter	S 16Spring		This year-long course is designed to teach students to read the mysterious looking Cyrillic script, write the unique Russian cursive, construct sentences and express themselves in Russian. Students will immerse themselves in the colorful cultural and historical context provided by authentic text, film, music, and visual arts. Exploring selected works by such literary masters as A. Pushkin, L. Tolstoy, and A. Chekhov, to name a few, students will be able to understand not only the specifics of Russian grammar and vocabulary but also the complexities of Russian character and the Russian way of thinking as documented and preserved by outstanding Russian authors.	Elena Smith	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Studio Projects: Material Gestures in a Shared Space Shaw Osha (Flores) and Evan Blackwell aesthetics art history cultural studies visual arts Signature Required: Spring	Program	FR–SRFreshmen–Senior	16	16	Day	F 15 Fall	W 16Winter	S 16Spring		This is an entry-level visual arts program emphasizing 2- and 3-D studio practices, art history, visual literacy, artistic research, and writing. We will delve intensively into the development of studio skills in design, ceramics, sculpture, mixed media, life drawing and painting, and monotype printmaking, while exploring how these material gestures express content. As a working group, students will engage in an art practice that explores what it means to be in conversation with art history and the sociopolitical world, drawing encouragement and influence from a greater community of artists, philosophers, writers, and social critics.The program is designed to support students interested in the visual arts, as well as those who are curious about visual literacy and want to experience using materials as an approach to inquiry and expression. No prior art experience is necessary, but enthusiasm, curiosity, and a strong work ethic are required. Students should be prepared to dedicate at least 40 hours per week to studio work and rigorous reading and writing on topics related to the concepts of 20th- and 21st-century art history and critical theory. Students will be exposed to an interdivisional approach to visual arts that includes both art and humanities work: studio work; art history; visual/cultural studies, including literature, philosophy, and history; and a significant writing component.Fall and winter quarters will provide students with basic studio experience with several material approaches and will offer design and drawing workshops. Students will work in either 2-D or 3-D fall quarter, switching to the other medium in winter. There will be visits to regional museums and we will attend the Art Lecture Series. In the spring, students will have the opportunity to apply their learning to individual projects, utilizing knowledge and skills gained over fall and winter. There will also be an opportunity to go to New York City for three weeks to attend the Whitney Biennial, visit artists' studios, attend talks, and draw from observation at the Metropolitan Museum of Art. By the end of this program, students will understand how one engages with an art community to share support and inspiration, and how the artist’s work expands beyond that community and connects to critical issues. Students will begin to imagine how to situate their own projects in terms of the world around them.	Shaw Osha (Flores) Evan Blackwell		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Surrealism in Art: Dreaming in Color Ann Storey art history visual arts	Program	JR–SRJunior–Senior	8	08	Evening		W 16Winter			This integrated art and art history program will examine the exciting metamorphosis of modern art, placing a special emphasis on women surrealist artists of Mexico and the United States. We will explore how these artists evolved as creative individuals as they simultaneously helped to transform society. We will also study the social, economic and historical forces that inspired artists to break with tradition and explore new ideas, materials and methods. We will learn how to analyze and interpret works of art using the technique of formal analysis. Students will be guided in a process that will move from theory to practice in order to experience relevant art techniques, such as cubist drawing, mixed-media work, collage and assemblage.	Ann Storey	Mon Wed	Junior JR Senior SR	Winter	Winter
Therapy Through the Arts (daytime) Tacoma Gilda Sheppard and Carl Waluconis aesthetics art history communication consciousness studies cultural studies education media arts media studies music psychology sociology theater visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Day and Evening				Su 16 Summer	This program will explore the role that movement, visual art, theater, 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; first, second or full sessions for 8 or 16 credits accordingly.	Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Therapy Through the Arts (evening) Tacoma Gilda Sheppard and Carl Waluconis aesthetics art history communication consciousness studies cultural studies education media arts media studies music psychology sociology theater visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Day and Evening				Su 16 Summer	This program will explore the role that movement, visual art, theater, 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; first, second or full sessions for 8 or 16 credits accordingly.	Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Thinking Through Craft Robert Leverich and Julia Heineccius visual arts Signature Required: Fall Winter Spring	Program	JR–SRJunior–Senior	16	16	Day	F 15 Fall	W 16Winter	S 16Spring		What if we acknowledge the recent historical status of craft as “inferior” to fine art and then seek out the potential of that unique vantage point? What if contemporary craft is used as a subversive strategy to question issues such as function, materiality, skill, and the role of the amateur in our culture? What if we propose craft as foundational to environmental awareness? The impetus for this program is Glenn Adamson’s book of the same title, which treats craft as an idea that transcends discipline. This program will center on a studio practice working with wood, metals, and other materials in the context of craft. Students will choose to work in a wood studio or a large metals studio for the year and will collectively take part in collaborative lectures, workshops, seminars, design challenges, research assignments, and field trips.Work in wood and large metals readily deals with issues of function, structure, ornament, finish, and comfort, but can just as readily address issues such as power and personal space, identity, privileged resources, the uses of discomfort, the role of ornament, or the limits of utility. The studio will explore and advance studio practice in functional and expressive works, using primarily wood, wood composites and substitutes, steel, sheet metals, cast metals, and a variety of mixed and re-purposed materials, and working in the college’s well-equipped wood and large metals fabrication shops. Fall quarter work will address foundational skills and background readings on craft, art, and materials, with individual and collaborative studio and research projects. Winter quarter projects and research will work from this base to address more complex challenges in wood and metals. Students will have the opportunity to develop their own individual or small-group studio work and research projects for the spring quarter. Craft-related internships are also possible.Many visual artists today are interested in the meaning of workmanship and the physical experience of manipulating and interacting with three-dimensional forms. This will be an opportunity to participate in the redefinition of craft today by making works in wood, metals, and other materials, studying the environmental, social and economic significance of these materials, exploring tools and processes, and reading, writing, and reflecting on craft. Eschewing the well-worn “craft vs. art” arguments, we will investigate the potential of craft as a vital subject in contemporary art, design, and environmental stewardship, and as a means to create timeless and timely forms.Students in the program will gain a deeper understanding of the challenges and satisfactions of their own craft in wood or metals, and a fuller sense of craft as a responsive and responsible approach to materials and making in contemporary culture. They will develop informed skills in drawing, design, and the use of tools and materials; abilities in expressive, expository, and reflective thinking, speaking and writing; and a body of their own works in wood or metal.	Robert Leverich Julia Heineccius		Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Anne de Marcken (Forbes), Shaw Osha (Flores) and Kathleen Eamon African American studies art history communication cultural studies gender and women's studies literature media arts media studies visual arts writing Signature Required: Fall Winter Spring	Program	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 15 Fall	W 16Winter	S 16Spring		This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (creative writing and digital media) uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20th-century Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title, “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen will have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. (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 will 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. Students are generally best equipped for this option if they have taken at least one full year of studies in Media or Visual Arts in a program such as MediaWorks, NonFiction Media, or its equivalent. (visual art) works in painting, photography, drawing, writing, and video. She explores issues of visual representation, affect as a desire, social relationship, and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw will have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work, and concerns in contemporary art making.	Naima Lowe Anne de Marcken (Forbes) Shaw Osha (Flores) Kathleen Eamon		Sophomore SO Junior JR Senior SR	Fall	Fall 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 visual arts writing Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 15 Fall	W 16Winter	S 16Spring		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 as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production.	Anne de Marcken (Forbes)		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with N. Lowe Naima Lowe African American studies art history communication cultural studies gender and women's studies media studies visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 15 Fall	W 16Winter	S 16Spring		This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (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. Students are generally best equipped for this option if they have taken at least one full year of studies in Media or Visual Arts in a program such as MediaWorks, NonFiction Media, or its equivalent.	Naima Lowe		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with Shaw Osha Shaw Osha (Flores) aesthetics art history visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day	F 15 Fall	W 16Winter	S 16Spring		This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making.	Shaw Osha (Flores)		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Visual Literacies Hirsh Diamant aesthetics art history cultural studies education visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring		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 approaches to 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, Photoshop, animation/video, and presentation software.	Hirsh Diamant	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Visual Music in 16mm and 35mm Direct Animation Devon Damonte media arts media studies visual arts	Program	FR–SRFreshmen–Senior	8	08	Day				Su 16 Session II Summer	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 fine art offering experiential liberation from increasingly digital visual cultures. In this intensive hands-on class students practice numerous methods of direct animation including darkroom hand-processing, and invent their own techniques to create lots of footage in a short time, while studying genre masters like Len Lye, Norman McLaren, and Barbel Neubauer. Final culminating projects will explore analog and digital methods for publicly presenting students' work in celebratory projection performance extravaganzas on campus and in downtown Olympia.	Devon Damonte	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Visualizing Climate Change Anne de Marcken (Forbes) and Peter Impara environmental studies field studies geography media arts natural history visual arts writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 16Spring		The shapes of coastlines and glaciers, the migratory paths and distribution of species, the length and character of the seasons…climate change is visible in large and subtle shifts, but still it is hard to grasp and hard to communicate. We will spend spring quarter learning to see, interpret and represent our changing world using computer mapping, spatial analysis and presentation, visual storytelling, web development, creative nonfiction, and crowd-sourced narrative. Students will develop critical, creative, scientific and technical skills as they research, analyze and interpret ecological change through readings and seminars, in writing and computer workshops, and by using the landscape itself as a classroom.This program will emphasize creativity and hands-on learning. Students will spend extended time in the field conducting structured observations, practicing site and landscape analysis and collecting the data and images they will use to shape representations of climate change. There will be two all-program, multi-day field trips: one to study the shrinking glaciers of Mt. Rainier and the other to the Olympic Peninsula coast where sea level rise and warming, increased storm action, and acidification are having dramatic effects on the coastal ecosystem. In both places we will consider the geological, ecological, cultural and economic implications of climate change.These two extended all-program field studies will provide opportunities to practice skills and expand ideas gained in workshop and seminar settings and which will inform ongoing independent work leading to a cumulative web-based project employing maps and images to tell the story of climate change.	Anne de Marcken (Forbes) Peter Impara		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Visualizing Microbial Seascapes: An Introduction to Animation and Marine Biology Ruth Hayes and Gerardo Chin-Leo biology environmental studies marine science media arts visual arts Signature Required: Winter	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 15 Fall	W 16Winter			This program will examine marine environments and life from the perspectives of science and the visual and media arts, emphasizing animation. Marine life constitutes a majority of the biomass and diversity of life, and marine microorganisms play major, complex roles in global ecological processes. We will focus on these relationships and how human activity affects them. In the past century, humans have severely impacted Earth’s ecosystems, degrading habitats and over-exploiting natural resources. Some scientists have termed this period of human influence the Anthropocene. We will explore ways that science and art can increase understanding of natural phenomena and human impacts on them, contributing effectively to solving environmental problems. We will learn how artists and marine scientists use close observation, analysis, and integrative thinking to communicate important concepts and values. We will experiment with ways to represent the movements, behaviors, and functions of microorganisms, as well as the larger structures of marine environments. Artists routinely base their works on scientific findings; students will practice such research-based creative strategies to respond to and represent marine phenomena in their drawings and animation.Students will explore how marine sciences and visual arts inform each other. Lectures will present concepts and terms unique to each discipline and include creative works about and inspired by the natural world. Labs, workshops, and field trips will offer experience in marine environments and conceptual and technical skills with which to represent them in drawing and animation. Through readings, writing assignments, and seminar discussions, students will learn how scientists and artists can contribute to understanding complex natural phenomena, raising awareness of and mitigating environmental problems. Students will integrate their learning in polished thematic creative works.In fall quarter, we examine ecosystems such as estuaries, intertidal zones, and the deep sea, taking an ecological perspective and emphasizing the role of microorganisms in these habitats. Students will learn drawing and animation skills as they explore how to represent microorganisms and their activities in small- and large-scale environments. In winter, we shift focus to the diversity of marine life and how organisms have adapted to environmental changes. Students will pursue more ambitious approaches to creative representations of marine life, environments, and the challenges they face. A multi-day field trip to the Friday Harbor Marine Labs will provide hands-on experience and inspiration for students' creative projects. Both quarters, we will join with other programs in common activities focused on issues related to the Anthropocene.	Ruth Hayes Gerardo Chin-Leo		Freshmen FR Sophomore SO	Fall	Fall Winter
Visualizing Microbial Seascapes: An Introduction to Animation and Marine Biology Gerardo Chin-Leo and Ruth Hayes biology marine science media arts visual arts writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 16Spring		In order to provide another entry point for students at all levels interested in animation and marine biology, Visualizing Microbial Seascapes (VMS) will explore the same themes as the fall/winter program did. This is a continuation of the fall/winter VMS program. This program examines marine environments and life from the perspectives of science and the visual and media arts, emphasizing animation. Marine life constitutes a majority of the biomass and diversity of life, and marine microorganisms play major, complex roles in global ecological processes. We will focus on these relationships and how human activity affects them. In the past century, humans have severely impacted Earth’s ecosystems, degrading habitats and over-exploiting natural resources. Some have termed this period of human influence the Anthropocene. We will explore ways that science and art can increase understanding of natural phenomena and human impacts on them, contributing effectively to solving environmental problems. We will learn how artists and marine scientists use close observation, analysis, and integrative thinking to communicate important concepts and values. We will experiment with ways to represent the movements, behaviors, and functions of microorganisms, as well as marine environments' larger structures. Artists routinely find inspiration in scientific findings; students will practice such research-based creative strategies to respond to and represent marine phenomena in drawing and animation.Lectures will present concepts and terms unique to animation and marine biology and include creative works about and inspired by the natural world. Labs, workshops, and field trips will offer experience in marine environments and conceptual and technical skills with which to represent them visually. Through readings, writing assignments and seminar discussions, students will learn how scientists and artists can contribute to understanding complex natural phenomena, raising awareness of and mitigating environmental problems. Students will integrate their learning in polished thematic creative works.	Gerardo Chin-Leo Ruth Hayes		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Web Design and Programming Arlen Speights and Richard Weiss computer science media arts visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening				Su 16 Session II Summer		Arlen Speights Richard Weiss	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Woodworking John Shattuck visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 16Winter			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.	John Shattuck	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Woodworking John Shattuck visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 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.	John Shattuck	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Woodworking John Shattuck visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 16Spring		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.	John Shattuck	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring