Hobart and William Smith Colleges

The Department of Art and Architecture offers three independent but strongly integrated areas of study: studio art, art history, and architectural studies. Studio art and art history offer majors and minors; architectural studies offers a major only.

The department provides students with the opportunity to delve deeply into visual culture and the built environment. Broadly speaking, students study the role of art and architecture in shaping, embodying, and interpreting human experience. Some students may focus on creative discovery and expression or the design process, with the opportunity to explore perceptual and conceptual problem solving. Others may study formal analysis and research methods within an interdisciplinary approach to understanding historical context. All of our students are encouraged to take advantage of opportunities to study studio art, art history, and architecture and design on semester abroad programs, to do internships in the field, and to do independent work at an advanced level. All three areas of study are designed to prepare students for continued education at the graduate school level.

In art history, students choose from an array of courses covering all periods of the art and architecture of America, Europe, Asia, North Africa, and the Islamic world. Advanced courses focus more intensively on specific disciplinary and interdisciplinary issues: artistic practice and patronage, the history of an important movement, gender in art, texts and images, historiography and theory, and exhibit planning and design. Art history students learn how to analyze visual culture and become adept at writing, research, and critical thinking, making them well prepared for careers in museums, art galleries, and auction houses; graduate study and a variety of careers that require these skills. Coursework in programs such as Critical Museum Studies, Media and Society, European Studies, Asian Studies, Women's Studies, English, Comparative Literature, Philosophy, Religious Studies, History, Anthropology, Economics, and Sociology complements the study of art history.

In studio art, students study painting, drawing, printmaking, sculpture, and imaging (photography, video, and new media). The major begins with rigorous introductory courses and quickly moves on to more focused intermediate and advanced offerings. Studio art courses at all levels are designed to help each student to explore a broad range of concepts, methods, and materials while developing individual ideas and a personal voice. Consistent throughout the studio art experience is attention to craft, development of a refined understanding of formal relationships, exercise of a rigorous practice of art making, and exposure to a broad range of historical and contemporary examples. As part of a liberal arts education, studio art is one of the few places where students can creatively engage in the development of a visual language, and this study prepares them for further study in graduate programs as well as a wide range of careers. Students often enrich their interests in studio arts with both similar and dissimilar majors and minors, including Economics, Architectural Studies, Writing and Rhetoric, Media and Society, and many more.

In architectural studies, students pursue a rigorous multi-disciplinary, holistic approach to design education embracing a liberal arts philosophy, based on the belief that roundly educated individuals make the best architects. Interdisciplinary coursework informs students about the complex relationship between environmental sustainability and human habitation. Students become visual communicators, creative problem solvers, non-linear thinkers, and collaborative learners. The architectural studies major prepares graduates to enter a number of different fields in design, including architecture, landscape architecture, product design, urban design, interior design, and historic preservation. Our students minor and double major in a range of areas across the Colleges to complement their career choices in programs such as environmental studies, urban studies, art history, philosophy and a host of other areas.

Students are encouraged to pursue study abroad opportunities for one or two semesters during their junior or senior years. Courses offered on these programs can supplement or be substituted for program requirements. Professors from the department frequently lead semesters abroad in Rome, Italy. Majors are also encouraged to study in Aix-en Provence, France; Carmarthen, Wales; Bath and Norwich, England; Hikone, Japan; Beijing and Nanjing, China; Taipei, Taiwan; and Vietnam. Architectural studies majors can pursue design studio-based programs in Berlin, Germany; Copenhagen, Denmark; and Lingnan, Hong Kong.

Students in all areas have the opportunity to culminate their undergraduate careers with a highly rewarding honors program. The honors program consists of a yearlong course of study, which is developed and pursued in close collaboration with a faculty mentor.

REQUIREMENTS FOR THE ART HISTORY MAJOR (B.A.)
disciplinary, 12 courses
Two courses from ARTH 101, ARTH 102, ARTH 103, or ARTH 110; at the 200-level or higher, one course in ancient or medieval art, one course in Asian art, one course in Renaissance or Baroque art, one course in American or modern art, a 300-level course, a 400-level capstone course, two art history electives, and two studio art courses. All courses must be passed with a grade of C or higher. Credit/no credit courses cannot be counted toward the major.

REQUIREMENTS FOR THE ART HISTORY MINOR
disciplinary, 6 courses
ARTH 101, ARTH 102, ARTH 103, or ARTH 110; one studio art course; and four additional art history courses. All courses must be passed with a grade of C or higher. Credit/no credit courses cannot be counted towards the minor.

REQUIREMENTS FOR THE STUDIO ART MAJOR (B.A.)
disciplinary, 12 courses
Three 100-level courses representing three different groups from the following choices: ARTS 105; ARTS 114 or 115; ARTS 125; and ARTS 165 or 166; four 200-level studio art courses; two 300-level studio art courses; a seminar; and two art history courses. All courses must be passed with a grade of C or higher. Credit/no credit courses cannot be counted toward the major.

REQUIREMENTS FOR THE STUDIO ART MINOR
disciplinary, 6 courses
Two 100-level courses representing two different groups from the following choices: ARTS 105; ARTS 114 or 115; ARTS 125; and ARTS 165 or 166; two 200 or 300-level studio art courses; one art history course; and one additional studio art course. All courses must be passed with a grade of C or higher. Credit/no credit courses cannot be counted toward the minor.

REQUIREMENTS FOR THE ARCHITECTURAL STUDIES MAJOR (B.A.) (no minor offered)
interdisciplinary, 13 courses
One Introduction to Architectural Studies course; two 100-level studio art courses, ARTS 125 and either ARTS 115 or 114; three architectural history and theory courses; two 300-level architecture design studios; two courses which substantially focus on cities, landscapes, or environmental studies; three electives at the 200-level or higher (other than Math/Physics, which may be taken at the 100-level) selected in consultation with an adviser in the program; and one 400-level capstone experience to be satisfied by one of the ARCS/ARCH courses used within the 13 for the major. All courses must be passed with a grade of C or higher. Credit/no credit courses cannot be counted toward the major.

COURSE CONCENTRATIONS
Art History
ARTH 101 Introduction to Art: Ancient and Medieval
ARTH 102 Introduction to Western Art: Renaissance through Modern
ARTH 103 Introduction to Asian Art
ARTH 110 Visual Culture
ARTH 201 Black Arts in America  
ARTH 202 Art Internship: Catalog
ARTH 203 Art Internship: Exhibition
ARTH 204 Art Internship: Acquisition
ARTH 205 Gender and Display
ARTH 206 Revivals of the Classical Tradition in Architecture
ARTH 208 Greek Art and Architecture
ARTH 209 Chinese Pictures: 1000 Years
ARTH 210 Women Artists in Europe and Asia, 1300-1750
ARTH 212 Arts of Modern China
ARTH 218 Gothic Art and Architecture
ARTH 221 Early Italian Renaissance Painting
ARTH 230 The Age of Michelangelo
ARTH 237 Princely Art: Renaissance Court Art and Culture of Mantua, Milan, Ferrara and Rome
ARTH 240 European Painting in the 19th Century
ARTH 241 A Global History of Performance and Installation
ARTH 248 Love and Death in Ancient Egypt
ARTH 249 Islamic Art and Architecture
ARTH 252 Japanese Art and Culture
ARTH 253 Buddhist Art and Architecture
ARTH 254 Islamic Art at the Crossroads: the Western Mediterranean 12th to 16th Century
ARTH 270 Early Medieval Art
ARTH 282 20th Century American Art
ARTH 300 Michelangelo, Caravaggio and Bernini
ARTH 303/403 Gender and Painting in China
ARTH 305/405 Women and Men: Gender Construction in Renaissance Italy
ARTH 306/406 Telling Tales: Narrative in Asian Art
ARTH 310/410 The Genre of the Female Nude
ARTH 315/415 Art and the Senses: High Renaissance Art and Arch in Venice in 15th and 16th Century
ARTH 332/432 Roman Art, Architecture, and Power
ARTH 333/433 Art Since 1960
ARTH 334/434 Manet and the Modernist Project
ARTH 336/436 Arts of the Landscape and the Garden in China and Japan
ARTH 380/480 Art of the Pilgrimage Roads  
ARTH 401 Seminar: Art Historiography ' the History of Art History
ARTH 450 Independent Study
ARTH 495 Honors
ARTH 496 Honors
Studio Art
ARTS 105 Color and Composition
ARTS 114 Introduction to Sculpture
ARTS 115 Three-Dimensional Design
ARTS 125 Introduction to Drawing
ARTS 165 Introduction to Imaging
ARTS 166 Intro to Video I: Creating Art with Moving Images
ARTS 203 Representational Painting
ARTS 204 Abstract Painting
ARTS 207 Image Exploration in Photography and Printmaking
ARTS 209 Watercolor
ARTS 214 Metal Sculpture
ARTS 215 Sculpture Modeling
ARTS 225 Life Drawing
ARTS 227 Advanced Drawing
ARTS 245 Photo Silkscreen Printing
ARTS 246 Intaglio Printing
ARTS 248 Woodcut Printing
ARTS 265 Intermediate Imaging
ARTS 272 Feminist Oral History
ARTS 305 Painting Workshop
ARTS 315 Sculpture Workshop
ARTS 345 Printmaking Workshop
ARTS 365 Imaging Workshop
ARTS 450 Independent Study
ARTS 480 Studio Art Senior Seminar: Theory and Practice
ARTS 495 Honors
ARTS 496 Honors
Architectural Studies
Required courses
ARCH 110 Introduction to Architectural Studies
ARCS 300 Introduction to Architectural Design II (or other approved 300-level ARCS course)
ARTS 115 Three-Dimensional Design or
ARTS 114 Introduction to Sculpture
ARTS 125 Introduction to Drawing
Architecture history/theory elective choices
ARCH 204 Introduction to Historical Preservation
ARCH 305 Environmental Design, Planning and Preservation
ARCH 310 Early Modern Architecture
ARCH 311 History of Modern Architecture
ARCH 312 Theories of Modern Architecture and Urbanism
ARCH 313 History of Modern Landscape Architecture
ARCH 495 Honors
ARCH 496 Honors
AMST 312 Architecture, Space and Social Justice 
ARTH 208 Greek Art and Architecture
ARTH 218 Gothic Art and Architecture
ARTH 249 Islamic Art and Architecture
ARTH 250 Modern Art 1900-1960
ARTH 252 Japanese Art and Culture
ARTH 253 Buddhist Art and Architecture
ARTH 270 Early Medieval Art
ARTH 332/432 Roman Art, Architecture, and Power
ARTH 333/433 Art Since 1960
ARTH 336/436 Arts of the Landscape and the Garden in China and Japan
ARTH 380/480 Art of the Pilgrimage Roads
Architecture studio elective choices
ARCS 204 Intro to DigITA Design
ARCS 400 Advanced Architecture Studio
ARCS 405 Portfolio Design
ARCS 495 Honors
ARCS 496 Honors
Urban Studies, Environmental Design and Sustainability elective choices
AMST 202 Drawing for Study and Storytelling
AMST 210 Sex and the City
ANTH 206 Early Cities
ANTH 326 Meso-American Urbanism
ARCH 313 History of Modern Landscape Architecture
ECON 212 Environmental Economics
ECON 213 Urban Economics
ECON 344 Economic Planning Development
ENV 110 Topics in Environmental Studies
ENV 205 Introduction to Environmental Law
GEO 140 Introduction to Environmental Geology
GEO 182 Introduction to Meteorology
GEO 184 Introduction to Geology
HIST 215 American Urban History
HIST 246 American Environmental History
HIST 264 Modern European City
PHIL 154 Environmental Ethics
REL 226 Religion and Nature
SOC 249 Technology and Society
SOC 251 Sociology of the City
SOC 253 Global Cities
SOC 271 Sociology of Environmental Issues
SOC 290 Sociology of Community
History elective choices
(any course taught in the History Department may count toward this requirement; listed below are courses at the 100 and 200 level only; refer to History Department for further listings)
HIST 101 Foundations of European Society
HIST 103 Early Modern Europe
HIST 107 Trekking Through Asia 
HIST 111 Topics in Introductory to American History
HIST 112 Soccer Around the World with the Beautiful Game
HIST 120 Making of the Samurai
HIST 201 Tudor-Stuart Britain
HIST 202 Japan Since 1868 
HIST 205 Modern Mexican History
HIST 206 Colonial America
HIST 207 United States History in the Age of Revolutions, 1776-1848
HIST 208 Women in American History
HIST 209 Histoy of Medieval Women
HIST 212 History of HWS Colleges
HIST 215 American Urban History
HIST 220 History of Early Medieval Europe and the Mediterranean, 300-1100
HIST 226 Colonial Latin America
HIST 227 African American History I: The Early Era
HIST 228 African American History II: The Modern Era
HIST 229 Public History: Theory and Practice of Making History Relevant
HIST 231 Modern Latin America
HIST 233 History of American Thought to 1865
HIST 234 History of American Thought from 1865 to Present
HIST 235 Civil War America
HIST 237 Europe Since the War
HIST 238 The World Wars in Global Perspective
HIST 240 Immigration and Ethnicity in America
HIST 242 Riding with Genghis Khan
HIST 244 US Legal and Constitutional History since 1865
HIST 246 American Environmental History
HIST 250 Medieval Popular Culture
HIST 253 Renaissance and Reformation
HIST 256 Technology and Society in Europe
HIST 264 Modern European City
HIST 272 Nazi Germany
HIST 276 The Age of Dictators
HIST 283 South Africa in Transition
HIST 284 Africa: From Colonialism to Neocolonialism
HIST 286 Plants and Empire
HIST 292 Japan Before 1868
HIST 298 Exploring Modern China

COURSE DESCRIPTIONS - ART HISTORY
ARTH 100 Issues in Art This course takes a broad view of the visual arts, discussing them not in isolation but in the context of the contemporary thought and culture of which they form a part. The course focuses on the social, political, and economic issues raised by the art of our time. Issues discussed include: race, gender, class, censorship, patronage, ecology, activism, etc. Students look at a selection of works from the field of fine art, that is, the practices of painting, sculpture, drawing, photography, installation, performance, video and other mixed media as a basis for a discussion of the issues raised by contemporary art. Open to first-year students only. (Staff)

ARTH 101 Ancient to Medieval Art This course offers a chronological study of principal monuments and developments in paintings, sculpture, and architectures from prehistoric to medieval times in Europe, the Mediterranean, and the Islamic world. (Tinkler, offered annually)

ARTH 102 Renaissance to Modern This course is a chronological study of principal monuments and developments in painting, sculpture, and architecture from Renaissance Italy to contemporary America. (Leopardi/Szymanek, offered annually)

ARTH 103 Introduction to Asian Art This course presents a topical study of the arts and architecture of China, Japan, India, and (to a lesser extent) Korea, with some comparisons to the arts of Central Asia, Europe, and America. We will examine developments in a variety of media, including painting, sculpture, architecture, ceramics, prints, and installations, through a series of case studies. Broad topics will include connections between art, politics, philosophy, and religion; text-image relationships; artistic practice, patronage, and collecting; and international art movements in the 19th and 20th centuries. In addition, students will learn to analyze two- and three-dimensional works of art and architecture. There are no prerequisites, and no previous exposure to the arts of Asia is necessary. (Blanchard, offered annually)

ARTH 110 Visual Culture This course is an introduction to the history and concepts of art, architecture and visual culture. This course is offered in several sections by different art history professors with different areas of specialization, ranging from modern and contemporary, to Renaissance, medieval, non-Western or architectural. (Staff, offered occasionally)

ARTH 201 Black Arts in America This course offers an exploration of the contributions of Black artists to American art, from the transplanting of African artisan traditions in the early 19th century to the fight for academic acceptance after the Civil War, from the evolution of a Black aesthetic in the 1920s to the molding of modernism into an expressive vehicle for the civil rights and Black pride movement of recent decades. Special attention paid to the Harlem Renaissance. Artists include Edmondia Lewis, Henry Tanner, Aaron Douglas, Jacob Lawrence, Faith Ringgold. (Szymanek, offered occasionally)

ARTH 202 Art Internship: Catalog This internship involves choosing and researching pieces in the Colleges' permanent collection of art and developing components research components necessary for adequate publication of those art works. Interns will be involved in documenting, conserving, and researching these works of art over the course of a term. The term will result in writing a catalog of these works for the spring exhibition from the collection. This is a half-credit course. (Staff, offered every semester)

ARTH 203 Art Internship Exhibition This internship involves studying chosen pieces from the Colleges' permanent collection of art and developing components necessary for adequate exhibition of those art works. Interns will be involved in designing the exhibition from hanging to labeling over the course of the term. The term will result in an exhibition of these works from the collection. This is a half credit course. (Staff, offered every spring)

ARTH 204 Art Internship: Acquisition This internship involves choosing a section of the Colleges permanent collection of art and developing an analysis of its strengths and weaknesses providing a knowledge base necessary to make acquisition decisions. Interns will develop an overview of the period of art chosen and compare it to our collection over the course of a term. The term will be used to identify and purchase a work which enhances the collection in the chosen section. This is a half credit course. (Staff, offered every fall)

ARTH 205 Gender and Display Through an examination of both media and art production from the late twentieth-century until the present, this course will ask students to critically engage with questions of how visual culture works to either confirm or reject the often violently oppressive concepts of masculinity and femininity that have come to shape Western ideology and lived experience. As they are inextricably linked to multiple formulations of masculinity and femininity, issues surrounding race, class and sexuality are also taken into account as we consider not only how images reflect gender norms but how, as viewers, we are continued to view them as such. (Szymanek)

ARTH 206 Revivals of the Classical Tradition in Architecture In this course students will study the Classical tradition in its Greek and Roman contexts, examining both free interpretation of models and rigid following of rules - whether authentic or imagined - of an always contested Classical tradition. The course will spend significant time on the introduction of the Classical tradition into German, Russian, British, and American settings where it had never existed before. Issues of historical preservation will be examined. (Tinkler, offered occasionally)

ARTH 208 Greek Art and Architecture This course surveys the art of the Greeks and Romans from the historical origins to the middle imperial period (ca. A.D. 200). Students examine the Greek pursuit of naturalism and their turn to emotion in art. Students contrast Greek use of ideal human form with the Roman interest in the depiction of individuals. In architecture, students study the classic expressions of Greco-Roman architecture in their stylistic unity and variety, especially in the way the buildings serve different functions with a limited language of building parts. Prerequisite: previous art history or classics course or permission of instructor. (Tinkler)

ARTH 209 Chinese Pictures: 1000 Years This course will explore a thousand years of Chinese pictorial arts, from 907 to the end of imperial rule in 1911, focusing on painting, calligraphy, and printmaking. Calligraphy (which has a pictorial component) and painting are regarded as the highest art forms in the earliest Chinese histories of art, while prints are often connected to the publishing industry. Material will be presented chronologically, but broader topics will include why calligraphy is regarded as art; subject matter in Chinese pictorial arts, including figural topics and landscapes; art criticism and theories on painting; social classes of artists; and artistic patronage and collecting. No prerequisites or co-requisites. (Blanchard; offered every two years).

ARTH 210 Women Artists in Europe and Asia, 1300-1750 Written histories of art before the modern era have too often overlooked or marginalized women artists, even though they worked in the same media as men (painting, printmaking, illustration, calligraphy) and depicted similar subjects (portraits, religious themes, still life's, and nature). This course examines European and Asian women artists between 1300 and 1750, with particular attention to the cultures of Italy and China after 1500. Topics will include the reasons for women's omission from the canon of art history; women's status as amateur or professional artists; and their identities as court artists, members of artistic families, courtesans, or nuns. (Blanchard)

ARTH 212 Arts of Modern China This course will explore the tensions between tradition, modernity, and globalization in Chinese arts from 1912 (marking the overthrow of imperial rule and the establishment of a republic) to the present, examining how visual media reflect the Chinese people's understanding of China's position in the world in the 20th and 21st centuries. Material will be organized chronologically, but broader topics will include art criticism and movements in art; social classes of artists; artistic patronage; art and politics; and gender in the arts. Media to be considered include painting, printmaking, photography, video, installations, sculpture, and architecture. No prerequisites or co-requisites. (Blanchard; offered every two years).

ARTH 218 Gothic Art & Architecture We study the art and architecture of the High and Later Middle Ages, roughly 1050- 1450, especially the shift traditionally described as being from Romanesque to Gothic. The course is organized chronologically and thematically around the rapid development and diffusion of Gothic forms from the centers of power in France to the whole of Europe. Of primary concern for architecture is the interaction between use and design, typified by the elaboration of liturgical space. Special attention will be paid to the importance of cult images and their role in society in comparison to images of powerful people, men and women. We will pay close attention to secular art, especially that of royal courts and understand from material culture what everyday life was like in the Middle Ages. (Tinkler)

ARTH 221 Italian Renaissance This course is an exploration of the extraordinary flowering of the arts in 14th and 15th century Florence. Artists include Giotto, Masaccio, Fra Angelico, Botticelli, and Leonardo. The course considers the development of individual styles, the functions of art, the culture of humanism, and the dynamics of patronage. (Leopardi, offered occasionally)

ARTH 230 The Age of Michelangelo This course is dedicated to the art of the High Renaissance and Mannerism in Florence, Rome, and a few North Italian cities. Students explore the evolution of the two styles in the work of painters and sculptors, such as Raphael, Pontormo, Correggio, Cellini, and Anguissola, with special emphasis on Michelangelo. Attention is also given to the new ideologies of art as Art and to the cult of genius, as well as the propagandistic aesthetics of the court of Cosimo I de' Medici in Florence. (Leopardi, offered occasionally)

ARTH 237 Princely Art This course will focus on the Renaissance Court Culture of the cities of Milan, Mantua, Ferrara and Rome. The course is meant to examine art production within the strict confines noble patronage by Italian princes. Particular attention will be paid to female patronage of Italian duchesses. All media will be taken under consideration -painting, sculpture and architecture--while paying particular attention to the ways in which artists responded to their patrons and introduced innovations eventually imitated by the merchant middle classes throughout the Italian peninsula. (Leopardi, offered alternate years)

ARTH 240 European Painting in 19th Century This course traces transformations of the practice, function, and social and political meanings of the art of painting throughout the 19th century in France. Moving from David's images of revolution and empire, to the Impressionists' renderings of the world of bourgeois pleasures, to Czanne's redefinition of the nature of pictorial form, it considers such issues as the role of the academy, the changing notion of the artist, the function of theory and art criticism, and the relationship between painting and the new art of photography. (Szymanek, offered alternate years)

ARTH 241 Live Art: Performance & Installation Art This course in an introduction to histories and theories of performance and installation art of the 20th-21st centuries. As a global phenomenon, the practice of using bodies, space, and time as mediums for the production of art requires a critical examination of the socio-cultural and political context within which a work is produced. Through a survey of art from China, Japan, Europe, and the Americas, this course considers how histories of industrialization, colonization, and migration have shaped the production of art as well as the constructions of space, time, and bodily subjectivity with which performance and installation art engage. Focusing on international movements such as Futurism, Fluxus, and, Gutai, as well as Body and Process art, this course focuses on artists whose work poses questions regarding how meaning is produced, whose meaning matters, and how bodies, space, and time become raced, classed, and gendered. (Szymanek)

ARTH 248 Love & Death in Ancient Egypt This course explores Egyptian paintings and reliefs from temples and tombs to reveal the strong sensual qualities encoded in the symbolism and iconography of funerary art. A careful analysis of artifacts will helps us understand how encoded images were seen as a form of power and a means to obtain immortality. While the course will provide a chronological survey of Egyptian art, it will mostly focus on the New Kingdom period because most of the tomb wall paintings to have survived belong to that specific period. (Leopardi, offered alternate years)

ARTH 249 Islamic Art & Architecture Students examine Islamic art and architecture from its beginnings in classical Mediterranean media and forms to the expression of autonomous stylistic developments and the impact of colonialism and post colonialism. They consider the myth that Islam prohibits imagery and examine the use of the abstract decorative technique often dismissed in western criticism as the "arabesque." The western colonialist response to the Islamic world, the subsequent Islamic response to western art styles, and the contemporary search for an authentic Islamic style in art and architecture conclude the course. (Tinkler, offered occasionally)

ARTH 252 Japanese Art and Culture This course takes an interdisciplinary approach to the arts and culture of Japan from the Neolithic period through the twentieth century. Students consider examples of visual media in the context of Japanese literature, history, society, and religions. Topics include Shinto architecture, Buddhist art (including Pure Land and Zen), narrative picture scrolls, traditional and western-style paintings, shoin architecture, gardens, tea ceremony ceramics and ukiyo-e prints (pictures of the floating world). Students read primary sources in translation, including Shinto myths, Buddhist texts, and selections from literature. (Blanchard, offered alternate years)

ARTH 253 Buddhist Art & Architecture This course will examine Buddhist architecture, painting, and sculpture from South Asia, Southeast Asia, The Silk Road, and East Asia. We will consider five important movements in Buddhist practice: Theravada, Mahayana, Pure Land, Esoteric, and Zen. Topics will include images of the life of the historic Buddha and tales of his previous lives; the role of the stupa on Buddhist worship; the expansion of the Buddhist pantheon; associations between art and patronage; representations of multiple realms of existence; the development of the mandala; the role of mediation in artistic practice. When appropriate, students will read Buddhist texts in translation. (Blanchard, offered alternate years)

ARTH 254 Islamic Crossroads This course examines the artistic production of Islamic culture in the Western Mediterranean throughout the Middle Ages and the Renaissance by taking into account cross-cultural exchanges. Themes under consideration will include: the relationship between art and literature;the rise of court culture; women's role in Islamic art, and Venice and Islam. (Leopardi, offered occasionally)

ARTH 270 Early Medieval Art This course covers the beginnings of Christian art and architecture in the cities of Rome and Constantinople and follows the diffusion of forms into the fringes of the Mediterranean world. The course is organized chronologically around the adaptation of classical forms for new purposes and the invention of new forms for the new religion. Of primary concern for architecture is the interaction between use and design, typified by the development of liturgy. Special attention is paid to the importance of the icon, its role in society, the subsequent politically-driven destruction of holy images during iconoclasm, and the final restoration of the cult of the image. Prerequisite: previous art history course or permission of the instructor. (Tinkler, offered alternate years)

ARTH 282 20th Century American Art This course is a study of American art from the turn of the century to its ascendancy as the center of international art. (Staff, offered occasionally)

ARTH 303 Gender and Painting in China How are the feminine and masculine represented in art? This course considers the role of gender in Chinese painting, focusing on the Song and Yuan dynasties (spanning the 10th to 14th centuries). Topics include the setting of figure paintings in gendered space, the coding of landscapes and bird-and-flower paintings as masculine or feminine, and ways that images of women (an often marginalized genre of Chinese art) help to construct ideas of both femininity and masculinity. Throughout, students examine the differing roles of men and women as patrons, collectors, and painters. Prerequisite: permission of the instructor. (Blanchard, offered occasionally)

ARTH 305 Renaissance Women and Men It was once assumed that men and women enjoyed perfect equality in the Renaissance and that the beautiful representations of Venus and the Virgin Mary in Renaissance art signaled the esteem in which women were held. Recent research suggests otherwise, finding instead increasing subordination of women. This course explores this question by considering the interrelationships between images of women in Renaissance painting, social realities of women's actual lives, the phenomenon of successful women artists, church dogma about women, and the period's literature by, for, and about women. It focuses primarily, but not exclusively, on Italy in the 15th and 16th centuries. Prerequisite: one course in either art history or women's studies or permission of the instructor. (Leopardi, offered occasionally)

ARTH 306 Telling Tales: Narrative Art Asia The relationship between text and image assumes primary significance in the arts of Asia. Of especial import is the use of visual narrative, or the art of storytelling. This course traces the role of narrative in the architecture, sculptures, and paintings of India, central Asia, China, and Japan. The course is designed as a series of case studies, through which students examine the special visual formats developed in Asia to facilitate the telling of tales and the specific religious, political, and cultural contexts in which narrative is deployed. Prerequisite: permission of the instructor. (Blanchard, offered occasionally)

ARTH 308 Art & Censorship This course will explore the issue of censorship as it has persistently shaped the production and exhibition of art in the Western world, particularly in Europe and the U.S. Beginning with the Salon des Refuses, the infamous exhibition of Impressionist works rejected from the official Parisian Salon in 1863 and the Degenerate Art Show organized by Adolf Ziegler and the Nazi Party in Munich in 1937, we will trace a lineage of institutional and political censorship that often functioned under the banner of "decency" or "morality" which, ultimately, served to police the content and political power of the visual arts. These early precedents will help contextualize more contemporary debates about the role of art and the regulation of its contents which reached a particularly feverish pitch in the U.S. during the age of the so-called "culture wars" of the 1980s. In the ensuing years, the history of censorship has taken on new meaning as various new means of making and exhibiting art through digITA technologies and the internet have made the ability to regulate images increasingly difficult. This course is a study of the history of modes of censorship utilized within/against the art world and artistic response to state, religious, and/or socially mandated forms of regulation. (Szymanek)

ARTH 310 Genre of the Female Nude This course examines representations of the female nude in painting of the late nineteenth-century European Symbolist period from a feminist perspective. Our discussion will focus on the nudes of Auguste Renoir, Paul Gauguin, Suzanne Valadon, Paula Modersohn-Becker, and Franz Von Stuck among others, as well as Symbolist images of the femme fatale. Areas to be investigated include the gaze, psychoanalytic understandings of female sexuality, social constructions of gender, the role of prostitution in the construction of the female body, and the way in which art itself produces meanings. (Szymanek)

ARTH 315 Art and the Senses Course also listed as ARTH 415. "Michelangelo for form and Titian for colour" is a classic trope that has its origin in Renaissance culture and that has lead numerous historians and critics to note and comment on the heightened sensual qualities of Venetian art. With this in mind, this course will examine the development of venetian art during its golden age, 1500-1600. The course is designed to examine all manners of visual production of that period covering artists like Bellini, Titian, Jacopo Sansovino and Andrea Palladio, yet the course will greatly focus on paintings since this genre distinguished itself for its emphasis on pictorial light and tactile values. Particular attention will be paid to the representation of the reclining female nude, a typology that found great fortune with patrons throughout Italy and beyond, and influenced generation of artists afterwards. Such representations will, further, be analyzed by examining renaissance conceptions of beauty, eros and gender construction. (Leopardi, offered occasionally)

ARTH 332 Roman Art, Architecture & Power Course also listed as ARTH 432. In this course, students consider the use Roman politicians made of art and architecture to shape public understanding of Roman imperial ideologies - to make Romans of the whole Mediterranean world. The course concentrates on three periods - the time of Augustus, the adoptive Antonine dynasty, and the Late Empire - and three art types - the imperial portrait (including the portraits of imperial family members), commemorative monuments (triumphal arches, columns and temples), and the Roman colony cities throughout the Empire. Prerequisite: permission of instructor. (Tinkler, offered alternate years)

ARTH 333 Art Since 1960 Course also listed as ARTH 433. This course focuses on the art of the 1960s to the present day. The course includes movements such as Conceptual Art, Minimalism, Pop Art, Color Field Painting, New Image Painting, Neo Expressionism, and Post Modernism. The approach is topical and thematic, drawing upon works of art in various media including: video, film, performance, earthworks, site specific sculpture, installation, etc. Individual works of art are discussed in the context of the theoretical writing informing their production. (Szymanek, offered occasionally)

ARTH 336 Landscapes and Gardens Course also listed as ARTH 436. In China and Japan, the natural landscape becomes a primary theme of artistic expression, as revealed in two-dimensional works of art and architectural sites. This course will examine East Asian traditions of landscape painting, pictorial representations of gardens, and the historic gardens of Suzhou, Beijing, and Kyoto, from the premodern era through the present. We will explore how these diverse representations of landscape play upon the dichotomy between nature and artifice and consider their social, political, and religious implications. Students will read landscape and garden texts in translation, as well as selections from the secondary literature dealing with these themes. (Blanchard, offered occasionally)

ARTH 380 Art of the Pilgrimmage Roads This course explores the art and architecture surrounding one of the most important medieval journeys: the pilgrimage. Theories of pilgrimage are discussed, as well as the physical journey which medieval pilgrims too to Santiago de Compostela, Rome, and Jerusalem. Attention is paid to pilgrimage in cross-cultural contexts (Buddhism, Islam). The bulk of the course focuses on the reliquary arts, architecture, and sculpture which the pilgrim experienced on his/her journey to these sacred places. (Tinkler)

ARTH 403 Gender and Painting in China How are the feminine and masculine represented in art? This course considers the role of gender in Chinese painting, focusing on the Song and Yuan dynasties (spanning the 10th to 14th centuries). Topics include the setting of figure paintings in gendered space, the coding of landscapes and bird-and-flower paintings as masculine or feminine, and ways that images of women (an often marginalized genre of Chinese art) help to construct ideas of both femininity and masculinity. Throughout, students examine the differing roles of men and women as patrons, collectors, and painters. Prerequisite: permission of the instructor. (Blanchard, offered occasionally)

ARTH 405 Renaissance Women and Men It was once assumed that men and women enjoyed perfect equality in the Renaissance and that the beautiful representations of Venus and the Virgin Mary in Renaissance art signaled the esteem in which women were held. Recent research suggests otherwise, finding instead increasing subordination of women. This course explores this question by considering the interrelationships between images of women in Renaissance painting, social realities of women's actual lives, the phenomenon of successful women artists, church dogma about women, and the period's literature by, for, and about women. It focuses primarily, but not exclusively, on Italy in the 15th and 16th centuries. Prerequisite: one course in either art history or women's studies or permission of the instructor. (Leopardi, offered occasionally)

ARTH 406 Telling Tales: Narrative Art Asia The relationship between text and image assumes primary significance in the arts of Asia. Of especial import is the use of visual narrative, or the art of storytelling. This course traces the role of narrative in the architecture, sculptures, and paintings of India, central Asia, China, and Japan. The course is designed as a series of case studies, through which students examine the special visual formats developed in Asia to facilitate the telling of tales and the specific religious, political, and cultural contexts in which narrative is deployed. Prerequisite: permission of the instructor. (Blanchard, offered occasionally)

ARTH 408 Art & Censorship This course will explore the issue of censorship as it has persistently shaped the production and exhibition of art in the Western world, particularly in Europe and the U.S. Beginning with the Salon des Refuses, the infamous exhibition of Impressionist works rejected from the official Parisian Salon in 1863 and the Degenerate Art Show organized by Adolf Ziegler and the Nazi Party in Munich in 1937, we will trace a lineage of institutional and political censorship that often functioned under the banner of "decency" or "morality" which, ultimately, served to police the content and political power of the visual arts. These early precedents will help contextualize more contemporary debates about the role of art and the regulation of its contents which reached a particularly feverish pitch in the U.S. during the age of the so-called "culture wars" of the 1980s. In the ensuing years, the history of censorship has taken on new meaning as various new means of making and exhibiting art through digITA technologies and the internet have made the ability to regulate images increasingly difficult. This course is a study of the history of modes of censorship utilized within/against the art world and artistic response to state, religious, and/or socially mandated forms of regulation. (Szymanek)

ARTH 410 Genre of the Female Nude This course examines representations of the female nude in painting of the late nineteenth-century European Symbolist period from a feminist perspective. Our discussion will focus on the nudes of Auguste Renoir, Paul Gauguin, Suzanne Valadon, Paula Modersohn-Becker, and Franz Von Stuck among others, as well as Symbolist images of the femme fatale. Areas to be investigated include the gaze, psychoanalytic understandings of female sexuality, social constructions of gender, the role of prostitution in the construction of the female body, and the way in which art itself produces meanings. Prerequisites: At least one 200 level course in art history, or permission of the professor. (Szymanek, offered alternate years)

ARTH 415 Art and the Senses Course also listed as ARTH 315. "Michelangelo for form and Titian for colour" is a classic trope that has its origin in Renaissance culture and that has lead numerous historians and critics to note and comment on the heightened sensual qualities of Venetian art. With this in mind, this course will examine the development of venetian art during its golden age, 1500-1600. The course is designed to examine all manners of visual production of that period covering artists like Bellini, Titian, Jacopo Sansovino and Andrea Palladio, yet the course will greatly focus on paintings since this genre distinguished itself for its emphasis on pictorial light and tactile values. Particular attention will be paid to the representation of the reclining female nude, a typology that found great fortune with patrons throughout Italy and beyond, and influenced generation of artists afterwards. Such representations will, further, be analyzed by examining renaissance conceptions of beauty, eros and gender construction. (Leopardi, offered occasionally)

ARTH 432 Roman Art, Architecture & Power Course also listed as ARTH 332. In this course, students consider the use Roman politicians made of art and architecture to shape public understanding of Roman imperial ideologies to make Romans of the whole Mediterranean world. The course concentrates on three periods'the time of Augustus, the adoptive Antonine dynasty, and the Late Empire'and three art types'the imperial portrait (including the portraits of imperial family members), commemorative monuments (triumphal arches, columns and temples), and the Roman colony cities throughout the Empire. Prerequisite: permission of instructor. (Tinkler, offered alternate years)

ARTH 433 Art Since 1960 Course also listed as ARTH 333. This course focuses on the art of the 1960s to the present day. The course includes movements such as Conceptual Art, Minimalism, Pop Art, Color Field Painting, New Image Painting, Neo Expressionism, and Post Modernism. The approach is topical and thematic, drawing upon works of art in various media including: video, film, performance, earthworks, site specific sculpture, installation, etc. Individual works of art are discussed in the context of the theoretical writing informing their production. (Szymanek, offered occasionally)

ARTH 436 Landscapes & Gardens Course also listed as ARTH 336. In China and Japan, the natural landscape becomes a primary theme of artistic expression, as revealed in two-dimensional works of art and architectural sites. This course will examine East Asian traditions of landscape painting, pictorial representations of gardens, and the historic gardens of Suzhou, Beijing, andKyoto, from the premodern era through the present. We will explore how these diverse representations of landscape play upon the dichotomy between nature and artifice and consider their social, political, and religious implications. Students will read landscape and garden texts in translation, as well as selections from the secondary literature dealing with these themes. (Blanchard, offered occasionally)

ARTH 480 Art of the Pilgrimmage Roads This course explores the art and architecture surrounding one of the most important medieval journeys: the pilgrimage. Theories of pilgrimage are discussed, as well as the physical journey which medieval pilgrims too to Santiago de Compostela, Rome, and Jerusalem. Attention is paid to pilgrimage in cross-cultural contexts (Buddhism, Islam). The bulk of the course focuses on the reliquary arts, architecture, and sculpture which the pilgrim experienced on his/her journey to these sacred places. (Tinkler)

ARTH 450 Independent Study

ARTH 456 1/2 Credit Independent Study

ARTH 495 Honors

ARTH 496 Honors

ARTH 499 Internship

COURSE DESCRIPTIONS - STUDIO ART
ARTS 105 Color & Composition A perceptual approach to the study of color interaction and compositional dynamics, students work through a carefully structured series of problems designed to reveal empirically the nature of color interaction and relatedness and the fundamentals of good visual composition. Projects range from narrowly focused color problems to ambitious, expressive compositional inventions. (Bogin/Ruth, offered each semester)

ARTS 114 Introduction to Sculpture A broad introduction to sculptural processes and principles. Traditional and experimental approaches to creative artistic expression in a variety of media are investigated, including carving, clay modeling, casting and construction. Materials may include plaster, wood, clay, metal, and mixed media. The history of modern sculpture is incorporated into the course through readings and discussion, as well as image and video presentations. (Aub, offered annually)

ARTS 115 Three Dimensional Design An introduction to three-dimensional concepts, methods, and materials with an emphasis on design. Project assignments involve investigations of organization, structure, and creative problem solving. Materials generally used in the course include cardboard, wood, metals, fabric, and plexiglas. (Aub, Blankenship, D'Angelo, Mathews, offered each semester)

ARTS 125 Introduction to Drawing A basic course in visual organization and visual expression, students focus on drawing from observation and the relational use of visual elements to create compositional coherence, clear spatial dynamics, and visually articulate expression. Students experiment with a range of drawing materials and subject matter. (Aub, Yi, Ruth, offered each semester)

ARTS 165 Introduction to Imaging An introduction to the methods, materials, and history of photography. Lectures involve camera usage, lighting, wet-darkroom skills, digITA darkroom techniques, digITA printing, and pictorial composition. Weekly lectures on the history of photographically based imaging from 1839 to the present will illuminate the profound influence such methods have on the way we perceive reality. Access to either a 35mm film SLR camera or a digITA SRL camera is required. (Chin, offered each semester)

ARTS 166 Introduction to Video I An introduction to creating art with moving images using digITA video cameras and nonlinear (digital) editing. Students produce a group of short works, which are contextualized by viewing and discussion of historical and contemporary video works. Emphasis will be placed on creating conceptual works that engage artists and audience in a deeper understanding of current issues and human experience. Additional techniques that may be used and discussed include stop-motion animation, sound, and installation. (Chin, offered annually)

ARTS 203 Representational Painting A sequel to ARTS 105, this course focuses on the problems of painting from a source, including still life, figure, and landscape. Students works to reconcile the insistent presence of objects with the need to create pictorial lights, space and compositional and expressive coherence. Prerequisite ARTS 105 (Bogin, Ruth, offered annually)

ARTS 204 Abstract Painting A sequel to ARTS 105, this course focuses on the generation of an abstract pictorial vocabulary and on the investigation of a range of compositional and expressive possibilities for the pictorial use of that vocabulary. Prerequisite: ARTS 105. (Bogin, Ruth, offered annually)

ARTS 207 Photo and Print This course examines expanded and procedural possibilities for making prints. Ne print media, digITA applications, photographic processes, alternate presentation formats and the resources of the print studio and photography darkroom and lab will be fully explored and utilized in the creation of artworks. Students will perform a series of procedure based assignments throughout the semester that culminates in an independent project. Students will engage in reading and writing and discussion specific to developments in interdisciplinary art making, the integration of digital works flows with traditional techniques and interdisciplinary thinking. (Staff, offered every three years)

ARTS 209 Watercolor Painting An exploration of the fundamentals of painting with translucent color media. Western and Eastern traditions, as well as more experimental approaches, are investigated. Use of Gouache (opaque watercolor) may also be explored. Subject matter involves still life, figure, and landscape with excursions to rural and urban settings. Prerequisite: ARTS 105. (Bogin, Yi, offered alternate years)

ARTS 214 Metal Sculpture This course explores metal as a creative sculptural medium. Processes and techniques of direct and indirect working methods will be taught which includes fabrication and casting. During the fabrication portion of the course, the formal aspects of design will be investigated along with its execution in stock metal (rods, sheet, and plate) and "found" (recycled) metal. In the process of working with these materials, the class will discuss assemblage possibilities, Constructivism, and the broader context of metal as a product of industry and war as it applies Modernist and Postmodernist concerns. By contrast, in the bronze casting portion of the course, we will explore the age old process of the "lost - wax" method as it has been practiced continuously from the ancients to contemporary times. (Aub, offered alternate years)

ARTS 215 Sculpture Modeling An investigation of sculptural tradition and personal expression through figure and head studies observed from life. Projects are modeled in clay and cast into plaster. This course takes an interdisciplinary approach that melds science with sociology and art as we seek understanding of the human form ranging from the physical embodiment to cultural perceptions. In addition to a vigorous investigation of anatomy through lectures, readings, and drawing, students will also explore art historical context, the politics of body image, and the psychology of portraiture. Prerequisite: ARTS 114 or ARTS 115. (Aub, offered annually)

ARTS 216 Process and Design: Furniture This course explores the full process of contemporary furniture making. With lectures and hands-on instruction, students will be guided through the process of developing an initial concept into a full- scale finished work. With emphasis on the integral relationship between materials, aesthetics, and function, this course will broaden students understanding of the influence materials and craftsmanship have on the fit and function of furniture. (Staff, offered alternate years)

ARTS 225 Life Drawing A study of the formal dynamics and the expressive potential of figure drawing. Students explore a variety of wet and dry media. Prerequisite: a 100-level studio art course or permission of instructor. (Aub, Bogin, Ruth, offered alternate years)

ARTS 227 Advanced Drawing A course based on the premise that every drawing, even the most meticulously representational, is an invented. We will explore ways of generating visual forms and visual relationships with an emphasis on the imaginative use of materials. Collage in various guises will be a regular part of the processes of invention in this course. Prerequisite: ARTS 125 (Bogin, Ruth, offered annually)

ARTS 245 Photo Screenprinting An introduction to the basic technology of photoscreenprinting, which can use both photographic and drawn images. Equal attention is given to issues of color and composition. Prerequisite: ARTS 105 or ARTS 125. (Yi, offered alternate years)

ARTS 246 Intaglio Printing An exploration of the basic techniques of intaglio printing, including drypoint, etching, and aquatint. Equal attention is given to composition and the effective use of visual form. Prerequisite: ARTS 125. (Yi, Bogin, offered alternate years)

ARTS 248 Woodcut Printing An introduction to the fundamental processes of woodcut printmaking. Traditional and experimental techniques are investigated. Formal dynamics and visual expression are the most important emphases of this course. Prerequisite: ARTS 125. (Yi, offered alternate years)

ARTS 265 Intermediate Imaging This course expands on themes introduced in Introduction to Imaging (ARTS 165) with additional emphasis on the development of conceptual expression in photographic imagery. Attention will be given to refining technical skills, which may include intermediate topics in image editing, camera controls, photographic composition, darkroom skills and lighting. Students will continue to be challenged to expand their visual vocabulary through exposure to contemporary and historical works of art. Classes are geared to the creation of an open, yet critical environment that fosters each student's emerging visual sensibility. Prerequisite: ARTS 165. (Chin, offered alternate years)

ARTS 266 Intermediate Video II Building off of Intro to Video (ARTS 166), this course will continue an exploration of time-based art, with emphasis on further exploration of digITA video and the possibilities of time-based media in space (installation). Additional tools used may include sound, performance, electronics, and photography. Emphasis will be placed on creating conceptual works that engage artists and audience in a deeper understanding of current issues and human experience. Students will create original works of art that will be challenged and enriched by the critique process. In addition, students will consider the history of video, installation, and interactive art, as well as other issues in contemporary art. Prerequisite: ARTS 166 (Chin, offered alternate years)

ARTS 270 Words and Pictures This course is a hybrid discussion and studio course. Our words will stem from Alex Klein and Charlotte Cotton's Words Without Pictures, a collection of essays and responses from a year-long discussion on contemporary photographic issues, and our pictures will be produced by students as they develop and pursue independent photographic projects. Building on the skills acquired in Introduction to Imaging, students will learn advanced imaging techniques as well as research strategies and resources specific to art and photographic discourse. The remainder, and majority, of the course will follow a weekly format that devotes one class meeting to student-guided discussion and presentations of reading material and supporting imagery. The second class each week will consist of group critiques of in-progress student work, and eventually fully-realized individual projects. Through the combination of studio work and contemporary photographic research, students will explore the relative significance of concept and form, and engage with their own and other artist's work within larger art and photographic contexts. (Chin, offered alternate years)

ARTS 272 Feminist Oral History Feminist oral history is a course concerned with how we narrate life stories and how we represent their narration in text, sound and image. This course operates as a methods workshop, investigating the theory underlying feminist oral history while putting the methodology to work through a class interviewing project using audio recording and image capture technologies. Students will learn how to develop interview questions, gather material and then put these into context to narrate and represent life stories. The workshop will develop interviewing skills as well as visual and audio artistic abilities. Students will learn the critical and analytical skills necessary to prepare life history for presentation to general audiences (such as museum exhibitions) and to prepare materials for deposit in an archive. (Chin/Bayer)

ARTS 301 Feminist Oral History Feminist oral history is a course concerned with how we narrate life stories and how we represent their narration in text, sound and image. This course operates as a methods workshop, investigating the theory underlying feminist oral history while putting the methodology to work through a class interviewing project using audio recording and image capture technologies. Students will learn how to develop interview questions, gather material and then put these into context to narrate and represent life stories. The workshop will develop interviewing skills as well as visual and audio artistic abilities. Students will learn the critical and analytical skills necessary to prepare life history for presentation to general audiences (such as museum exhibitions) and to prepare materials for deposit in an archive. (Chin/Bayer)

ARTS 305 Painting Workshop For advanced students, the focus of this workshop is on the generation and development of individual painting ideas. Emphasis is on the creation of a process of painting that draws on a multitude of sources, inspirations, influences, and ideas and the way that work emerges from this matrix of pictorial possibilities. Students will study both Modernist and Postmodern approaches to image making through painting. Prerequisite: ARTS 203, ARTS 204, ARTS 209, or permission of the instructor. (Bogin, Ruth, offered annually)

ARTS 315 Sculpture Workshop An open studio for a small, independent group, this course includes individual problems and criticism as well as group discussions. All media and processes may be investigated, including modeling, carving, welding, and plaster or bronze casting. Prerequisite: ARTS 215. (Aub, offered alternate years)

ARTS 345 Printmaking Workshop This workshop is for students who have taken either ARTS 245, ARTS 246, or ARTS 248. It is designed to enable students to do more advanced work in a chosen area of printmaking as well as explore new related areas of printmaking. Prerequisite: ARTS 245, ARTS 246, or ARTS 248. (Yi, offered alternate years)

ARTS 365 Imaging Workshop This is a concept based course in which the student is encouraged to employ a variety of imaging media to fully explore their creative potential in a workshop environment. Projects using large and medium format film cameras, alternative processes and digITA image capture and output are required. Students may expand their exploration into more conceptual, process-oriented, video or web-based art. Prerequisite: ARTS 265 or ARTS 268. (Chin, offered alternate years)

ARTS 480 Studio Art Senior Seminar This course seeks to provide students with a grounding in studio art theory as it pertains to the origins of modernism, the advent of postmodernism, and the development of a wide array of contemporary studio art practices. It will also provide specific skills training in aspects of professional practice important to studio artists, including such topics as documentation of artwork, exhibition strategies and techniques, development of a portfolio, the writing of artist statements, and the delivery of artist talks. (Ruth, Chin, offered annually)

ARTS 499 Internship

COURSE DESCRIPTIONS - ARCHITECTURAL STUDIES
Architectural History and Theory
ARCH 110 Introduction to Architectural Studies An introduction to architecture and design culture, this course introduces students to the aims, methods, and issues of the design and planning disciplines with architecture at the core of our studies. This course also encourages students to think, look, and read critically about designed objects, places, and spaces through drawing, although no prior experience with sketching is expected. With these tools, the student will have a basic understanding of design, and will be prepared to undertake more specialized study. The course will vary between giving students a survey of world architectural history and/or providing them with an awareness of issues facing designers at the dawn of the twenty-first century including sustainability, social responsibility, and the democratization of design. (S. Mathews/Blankenship, offered annually)

ARCH 204 Introduction to Historic Preservation This course will serve as an introduction to the field of historic preservation, focusing on the history, theories and practice of preservation in the United States. The course will explore the origins and history of the preservation movement in the United States and introduce students to the legislation and governmental entities that enable and support historic preservation at the local, state and national levels. Students will also be introduced to private efforts, both individual and collective, to preserver the American architectural heritage and the diverse motivations for such endeavors. Technical aspects of preservation will also be considered, including research and documentation, as well as approaches to adaptive reuse and the design of additions to historic buildings and districts. In the course of these explorations, students will be asked to take a critical look at these practices openly exploring preservation's strengths, weaknesses, limitations and biases. To support these investigations, the City of Geneva and its community will serve as a living laboratory, as preservation historical has been and continues to be major force in community life. (Staff, offered occasionally)

ARCH 305 Environmental Design, Planning and Preservation A survey of the interrelated histories of the architecture, landscape architecture, planning, natural resource conservation and historic preservation in the United States during the twentieth century and up through today. This course will cover early park and city planning, the impact of the 60's environmental movement and reaction to modernist projects on the design professions, the historic preservation movement, and recent multidisciplinary design practice emphasizing ecological sensitivity. Prerequisites: ARCH 110, ARCH 200 or 201. (Staff, offered occasionally)

ARCH 310 Early Modern Architecture This course traces the major tendencies of European and American architecture from the Enlightenment to World War One. In this course, we examine the roots of modern architecture in relation to culture and society. In particular, we will look at how developments in architecture relates to developments in other disciplines such as art, science, philosophy and politics. Prequisite: ARCH 110. (S. Mathews, offered annually)

ARCH 311 History of Modern Architecture Modern architecture evolved less than a century ago in response to changing social and technological conditions. This course seeks to convey the underlying causes, social milieu, technological innovations, and individual geniuses that helped bring about the revolution and subsequent evolution of modernism. Through informative lectures, explorative projects, and interactive discussions, the class examines the personalities, the rhetoric, and the seminal works of the modern era. (S. Mathews, offered annually)

ARCH 312 Theories of Modern Architecture & Urban This course investigates the role that ideas can play in the making and interpretation of the built environment. Lectures, readings, discussions, and hands-on projects combine to cover a broad range of topics from basic definitions of terms and concepts to an overview of the significant theoretical positions that have been used to lend authority to form making. Emphasis is placed on buildings and ideas that are crucial to the important theoretical debates of the 20th century. The course specifically aims to present the material in a manner that aids students in clarifying their own values and intentions. (S. Mathews, offered annually)

ARCH 313 History of Modern Landscape Arch This course presents a survey of landscape design from the 19th century to the present with an emphasis on the 20th century. Lectures, readings, and discussion will present and analyze specific parks, gardens, roads, planned communities, and other sites of invention. Works of landscape design will be physically contextualized through consideration of contemporary and allied humanities, especially philosophy, literature, painting, and architecture. The relationship of individual landscape projects to their topographic and social contexts will emerge as a central theme of the course. Students will learn to see, analyze, and appreciate works of landscape design, and also the historical trends and cultural forces that have shaped them. (Blankenship, offered alternate years)

ARCH 450 Independent Study

ARCH 456 1/2 Credit Independent Study

ARCH 495 Honors

ARCH 499 Internship

Architecture Design Studios

ARCS 204 Introduction to Digital Design Arcs 204 is a digital design studio that challenges students to think critically and creatively about the design process as it relates to digital design software and fabrication. Exploring analytical, generative and representational opportunities within digital design applications and methodologies, students will gain foundational proficiency in a variety of digital languages through direct and hybrid design approaches. Design projects will range in scale and content each semester, and will evolve through a process of exploration, critique, revision and refinement. Prerequisites for the course include Arts 114 or 115 and Arts 125. The course will be offered annually at minimum and will be taught by Architectural Studies faculty.

ARCS 210 Berlin: Politics Memory and Space This study trip explores the intersections of architecture, art, memory, and modernity through the case of Berlin. Through Immersion in the city, students will gain foundational skills in urban observation, mapping, historical research, and the act of memory on the creative process. We will explore the city's modem and historical art and architecture in the context of global and historical developments including imperialism, world war, municipal socialism, fascism, The Cold War, the collapse of Communism, and democratization and capital building. We will meet local artists and historians and study the legacies of modernity in the city's everyday lived experience.

ARCS 300 Architecture Design Studio This course, a vertical studio, is an introduction the design process as a method of inquiry, focused study and innovative problem solving. Emphasizing conceptual design, student projects may explore site design, building design, interiors and lighting, object or product design, installation art, garment design, and other topics. Students will learn to work interactively on their projects, gain familiarity with formal design principles, and work at multiple scales. Lessons in precision drawing, modeling, and design work flow will be integrated into project work. Students may repeat this course. (Blankenship/D'Angelo, offered each semester)

ARCS 301 Design II: Immediate Environment Through a series of theoretical and applied problems used in this course, students explore the complexities of integrating architectonic relationships of form and space with the realities of program needs, construction systems, materials, structure and environmental factors. Individual and group problems address built form and its immediate surroundings. Emphasis is on deepening intuitive and logical understanding of architectural forms, systems, influences, and expressive potential. (Staff, offered annually)

ARCS 304 Digital Studio This studio course is about design inquiry and the visual communication of conceptually and technically complex issues related to the built environment, primarily (but not exclusively) through the use of digITA media. In addition to acquiring skills in a number of software applications including AutoCAD and the Adobe Suite, students are asked to think critically about representation as an integral and strategic part of their design explorations. Projects will evolve through a process of critique, revision and refinement.

ARCS 400 Advanced Architectural Studio This advanced studio design course offers students an opportunity to engage in a design project at an upper level, both in terms of skills/abilities and intellectually in terms of tackling complex circumstances, site or program constraints or questions. The physical site may be in an urban, exurban, rural or small town context where the design project must participate in a wide matrix of formal, cultural and environmental references. Research, through analysis of precedent, site investigation, critical readings and exploration of technique, is considered a creative activity, driven by hypothesis and providing the base for much of the production in the studio. Prerequisites: Two ARCS studios at the 200 or 300-level; architectural, art, or landscape history courses; or permission of the instructor. (Blankenship/D'Angelo, Spring, offered occasionally)

ARCS 405 Portfolio Design A visual Portfolio is a graphic sampling of work that tells a story in either physical or digital form. Well-designed visual portfolios provide broad insights about their subject matter, whether person, product or idea. In this course, students will work with design software to develop a visual narrative strategy, prepare imagery and draft text for a capstone portfolio. Other topics covered include logo and website design, resume and personal essay writing and other kinds of professional development. (Offered every semester)

ARCS 450 Independent Study

ARCS 456 1/2 Credit Independent Study

ARCS 495 Honors

ARCS 499 Internship