Special Notes and Restrictions on Registration
The following course is not open to students with 90+ credits: Art 293. This regulation does not apply to Art majors.
The following courses are not available through Touch-tone or On-line Registration: 381, 383, 386, 387, 393, 395, 397, 470, 478, 488, and
491. Students register through the Department using the On-Line Registration Form.
All courses in photography, video, printmaking and digital media carry four credits and require open lab time each week - a minimum of 3 hours of lab per week required; 6 hours are recommended. Tentative lab schedules for spring 2009 will be released at a later date. ccde = Courses administered through the Division of Corporate, Continuing and Distance Education.
Ccde ART 100 THE LANGUAGE OF ART
Sec 1 3022 TuTh 8.00-9:15 M-3-407
3CR AR
Carol Scollans
This class introduces the student to the salient features of the creative process and the tools employed in the creation of art. It enables the student to grasp the expressive content of art works in a wide variety of media and teaches them to critically analyze how the artist creates his/her effects. It is not a historical survey course. The course offers the student a solid introduction to the visual arts by developing the student’s ability to see and critically analyze forms as a result of aesthetic and interpretive decisions. We will also examine important topical issues that impact on the appreciation, perception and interpretation of artistic practices such as race and gender issues, connoisseurship and public art. Course requirements include three short paper assignments, mid term and final examination .
ART 101 ANCIENT AND MEDIEVAL ART
Sec 2756 TuTh 8:00-9:15 Snowden
3CR AR
David Areford
This course is designed as a chronological survey of the architecture, sculpture, painting, and decorative arts of the Western world from prehistoric times to the late Middle Ages, including the cultures of Mesopotamia, Egypt, Greece, Rome, Western Europe and Byzantium. In addition to stressing the basic vocabulary and conceptual skills necessary to the study of the form, meaning, and context of art and architecture, the class will be structured around key themes, including: the origins of image making; the function of art in connection to funerary practices; religion and art; the relationship between art and power; the representational modes (naturalism, idealism, abstraction); the interaction between text and image; the representation of gender and status; the visualization of sexuality; patronage and the production of art; and the importance of setting and audience.
Class meetings will consist of lecture and discussion. Student evaluation is based on attendance, class participation, readings, museum visit, paper, and two exams.
ART 102 RENAISSANCE TO MODERN ART
Sec 1 1414 MWF 8:00-8:50 Snowden
3CR AR
Meredith Hoy
This course is intended to serve as an introduction to the theory, methodology, and historiography of Western art from the Renaissance to the present moment. We will examine some of the canonical “great masterworks” of the art historical periods under consideration, accompanied by similarly canonical readings in art historical scholarship. While our investigations will proceed chronologically and narratively, the history of art need not be stable or monolithic. To this end, we will be examining not only the formal and aesthetic characteristics of artworks and the rhetorical and methodological approaches of art historical writing, but we will also address the degree to which representation, as well as the theorization of representation, is normative and conventional—that is, to what degree social, political, economic, and other cultural factors determine the proper subjects of visual art. We will analyze and interpret visual, historical and theoretical materials in order to define the parameters for what can be represented and how the act of representing is carried out from the 15th to the 21st centuries.
Students will be expected to attend all lectures, discussion sections, and museum visits, and to engage critically and thoughtfully with the texts and artworks presented in the class. You will be asked to develop your reading, writing, and interpretive skills, and to demonstrate your learning in exams, papers, and class discussion. At the end of this class, you will have a basic understanding of the major trends in European art from circa
1400-2000, as well as the social, cultural, and artistic context from which these trends emerge and on which they reflect.
ART 102 RENAISSANCE TO MODERN ART 3CR A AR
CE Sec 1 3046 Sat 8:15-11:15 M-3-430 Carol Scollans
Sec 1 18869 TuTh 9:30-10:45 M-3-407 Carol Scollans
This course is a historical survey which introduces the student to the technical, aesthetic, and theoretical aspects of architecture, painting and sculpture in Western cultures from the fifteenth to the twentieth century. Topics include the Renaissance in Europe, diversity in the Baroque age, the birth of the modern world in the eighteenth century, and the pluralism of style in the nineteenth century. Special attention is given to the principle period styles and individuals who help to define each era. The student learns to critically analyze and interpret objects and buildings through visual materials presented in class, readings, lectures, class discussions and museum visits. The course requirements include one paper (a research assignment), mid-term, and final exams.

ART 222 SURVEY OF AMERICAN ART
Sec 1 6505 Sat 12:00-3:00 M-3-430
3CR AR
Carol Scollans
This lecture course introduces the student to the history of art in America from the 17th century through the 20th century. American artists differ from their European counterparts as they reinterpret forms of expression to create art that is directly related to American culture, society, politics and economics. We will examine painting, sculpture, architecture and photography in the context of American life and explore the philosophical and ideological influences that define a uniquely American aesthetic sensibility. The course requirements include class museum visits, two short papers, mid term and final exams.
ART 230 ARCHITECTURE, DESIGN, & SOCIETY
Sec 1 2535 TuTh 12:30-1:45
Sec 2 2536 TuTh 2:00-3:15
M-3-407
M-3-407
3CR A
Nancy Stieber
Nancy Stieber
The design of the man-made environment integrates pragmatic concerns for shelter, transportation and community with the search for expressive forms. Throughout history civilizations around the world have solved these problems ingeniously. The ways people design and furnish their buildings, landscapes, and cities can be used to interpret their systems of economics, social relations and culture. This course explores the relationships between architectural form and society in order to improve our understanding of both. We will examine six themes: 1) construction, 2) ritual, 3) plans, 4) ornament and structure, 5) urban space, and 6) tradition and modernism. We will learn about these broad conceptual issues by looking closely at a small number of buildings and projects drawn from across time and space. By the end of the semester, you should have a grasp of the fundamental nature of architectural design.
Your participation in this course will consist of the following: 1) class discussion, 2) assigned readings, 3) two short papers, and 4) midterm and final exams. Attendance in class is not only mandatory, it is essential if you wish to pass this course, since we will cover material in class not handled in the readings.
ART 259: ART NOW: History and Theory Contemporary Art
Sec 1 6638 MWF 9:00-9:50 M-3-430
3CR AR
Meredith Hoy
Art Now covers the recent history of contemporary art from 1945 to the present. Beginning with a review of the final years of modernism in the 20th century, this course examines new forms that begin to emerge after Abstract Expressionism and continue to develop into the 21st century. Over the course of the semester, the course will examine key works that demonstrate the conditions of contemporaneity in their given moment, taking into account that formal and conceptual signals of the contemporary will change over time. The course will consider the most important innovations, ideas, and questions raised by artists in the 20th and 21st centuries, including issues surrounding new technologies, site-specific works, installation, performance, land art, institutional critique, relational art, and even the disappearance of the object altogether. In scrutinizing these topics, the course will address the role of the medium, the viewer, and the situational context in generating the “meaning” of the artwork, its construction of a network of relations between viewer, object, and environment, and its particular intervention or interventions into the history of art.
ART 265 FILM ANALYSIS
Sec 1 1415 TuTh 4:00-6:00 M-3-407
3CR AR
Michael Dow
NOTE: Time allows for film screening.
Any thorough and systematic study of film, because of its essentially interdisciplinary nature, must address concerns and problems common to other forms of artistic expression such as literature, theater, painting, and photography. This course goes beyond the conventional experience of theater and
TV viewing; and employs a detailed analysis by means of slow motion and still frame techniques. The films studies include examples of classic
Hollywood, contemporary American, and foreign feature films, and the documentary. The course is not primarily historical in emphasis; rather, its concerns are the visual language of film, its use as the vehicle for narrative and theme, and major film types and styles.
Assignments will include: analysis of readings, oral reports, a visual analysis paper, an annotated bibliography, and a research paper.
ART 281 DRAWING I
Sec 1 1416 MW 8:15-9:45
Sec 2 1417 TuTh 8:30-10:00
Sec 3 2408 MW 10:00-11:30
H-8-009
H-8-009
H-8-009
3CR AR
Zach Horn
Wilfredo Chiesa
Zach Horn
CAPS Sec1 1004 Sat
CAPS Sec 2 4861 Sat
CAPS Sec 3 17171 Fri
8:15-11:15
11:30-2:30
6:00-9:00
H-8-009
H-8-009
H-8-009
Kevin Dacey
Kevin Dacey
Aaron Norfolk
Model Fee: $40.00
This course provides a comprehensive introduction to basic materials and techniques, with emphasis on drawing as a primary means for the description and interpretation of people and their environment. It explores problems in still life, landscape, and life drawing. Fundamentals of visual language are also addressed.
ART 286 INTRODUCTION TO CONTEMPORARY SCULPTURAL PRACTICE
Sec 1 6642 MW 10:00-11:30 H-8-016
3CR AR
Erik Levine
This course presents the concepts, processes, and materials that form the foundation of sculpture and its evolving definition. It will explore the possibilities for autobiographical, aesthetic, conceptual, and formal expression through the practice of sculpture. Methods and approaches to the sculptural practice will include object making, conceptual art, video, installation, public art, and performance. This course will introduce new ways of visual thinking, development, and awareness through individual meetings, critiques, readings, discussions, and current exhibitions.

ART 287 INTRODUCTION TO PRINTMAKING
Sec 1 4316 MW 10:00-11:30
CAPS Sec 1 17174 TuTh 8:30-10:00
S-4-101
S-4-101
4CR AR
Liz Marran
Aaron Norfolk
Lab fee: $100.00. A MINIMUM OF THREE HOURS OF LAB PER WEEK IS REQUIRED; SIX ARE RECOMMENDED
Introduction to Printmaking is an entry-level studio course that introduces the principles of two-dimensional design and image-making in both black and white and color. Instruction covers several different printmaking methods that highlight traditional and experimental applications. These include the relief print, the monotype and the intaglio and the photo-intaglio print. Demonstrations, slide presentations and a field trip to Harvard’s Fogg Art
Museum’s Print Study Room introduce historical and contemporary examples of the print and further the development of each student’s unique creative process.
ART 293 PHOTOGRAPHY I
Sec 1 1418 Tu 3:30-6:30
Not open to students with 90+ credits, except art majors.
H-8-025
4CR AR
Margaret Hart
Lab Fee: $100.00. A MINIMUM OF THREE HOURS OF LAB PER WEEK IS REQUIRED; SIX ARE RECOMMENDED.
NOTE: Photography is an expensive medium. In addition to the lab fee approximately $200 will be required for film and paper
This course will cover the basics of black and white photography, including the use of a 35mm camera, film processing, and printing in the darkroom. There will be four assignments over the course of the semester. These are self-portrait, documentary, sequence/series and a final project you will define for yourselves. In addition to the creative assignments you will also be required to visit one art exhibition or lecture on photography and submit a portfolio.
ART 295 INTRODUCTION TO VIDEO
Sec 1 1419 M 8:15-9:45
Sec 2 2409
W
M
8:15-9:45
10:00-11:30
H-UL-Lab A
W-2-206
H-UL-Lab A
4CR AR
Staff
Staff
W 10:00-11:30 W-2-206
Lab Fee: $100.00. A MINIMUM OF THREE HOURS OF LAB PER WEEK IS REQUIRED; SIX ARE RECOMMENDED.
This course is an introduction to working creatively with moving images. It introduces the student to production and post-production aspects of digital video within a historical and critical framework. Through technical workshops (using Final Cut Pro on the Macintosh), students will explore how the computer manipulates digital bits into creative representations of how we see and participate in the world.
Discussions will complement weekly screenings and assigned readings. Students will examine the characteristics and creative strategies of various genres and forms, while developing a dialogue about video’s relation to other art forms, television and to contemporary culture. Students will learn how technology has affected notions of what art is, as well as determine how the computer, the spectacle, and the circulation of images have transformed our relation to time and space.
ART 305 EARLY MEDIEVAL ART Imaging God, Imaging Power
Sec 1 6637 TuTh 11:00-12:15 M-3-430
Prereq: Art 101 or permission of the instructor.
3CR AR
David Areford
This course surveys the art and architecture of Western Europe and Byzantium from the Early Christian period to the rise of the Holy Roman Empire
(c. 200 - c.1100 A.D.) Although medieval art objects are displayed in museums around the world and many medieval buildings survive throughout
Europe, this art often seems completely foreign to the modern viewer who is unfamiliar with both its subject matter and the purposes of its design.
The art of this period was made primarily to serve the needs of the Christian church and the Christian faithful, as well as both religious and political leaders. This course aims to return medieval objects and architectural spaces to the religious, political, and socioeconomic contexts in which they were produced. While the material is organized chronologically, lectures, readings, discussions, and assignments will stress key themes such as the origins or “invention” of Christian images, the changing depictions of Christ, the debated place of images in religious worship, the relationship between text and image, the role of patrons and politics, the impact of pilgrimage, the cult of relics and saints, the liturgical function of the art object, and how art and architecture is designed to communicate ideas and to focus and channel the response of the viewer. Beyond exploring these specific themes, students will gain a detailed knowledge of Christian iconography as represented in a variety of media – architecture, sculpture, painting, manuscript illumination, mosaic, ivory, and metalwork.
Class meetings will consist of a mix of slide lecture and discussion (and some video screenings). Required reading includes: James Snyder’s
Medieval Art (main textbook), Thomas Mathews’ The Clash of Gods: A Reinterpretation of Early Christian Art, and selected readings. Students will complete three exams and write two short essays (an analysis of Mathews’ book and a position paper on the use of images in religious worship).

ART 310 MONET & IMPRESSIONISTS 3CR
Sec 1 4647 Fri 1:00-3:30 M-3-430
Prereq: Art 202 or 250 or permission of instructor.
Paul Tucker
This course examines the life and work of Claude Monet, one of the founders of Impressionism in the 1860s and one of the most prodigious practitioners of that heralded style until his death in 1926. (His oeuvre totals more than 2,000 paintings and 500 drawings.) We will trace his origins in the art of mid-century France, paying particular attention to changing conceptions about painting and the concurrent development of
Paris. We will follow him through the classic years of the 1870s at Argenteuil to his abandonment of contemporary subject matter in the 1880s and his invention of series paintings of the 1890s which culminate in the nearly 250 Water lilies that he created in the last twenty-six years of his life. We will profit from the extraordinary holdings of the Museum of Fine Arts Boston which we will visit several times and museums in New York, particularly the Metropolitan Museum and the Museum of Modern Art. We will conduct at least one out-of-state visit to see those museums in New
York with possible stops at the Wadsworth Atheneum in Hartford, and the Hill-Stead Museum in Farmington CT as well. Course requirements include a mid-term exam, a class presentation, and a major research paper.
ART 313 BAROQUE ART IN ITALY 3CR
Sec 1 4649 MW 2:00-3:30 M-3-430 Pamela Jones
This course concerns art and architecture in Italy from circa 1580 to 1680, the Baroque period. This exciting era was characterized by fundamental changes from religious reform to scientific discoveries and the growth of political absolutism. By considering art and architecture in their cultural contexts, we will explore how these developments informed the style, subject matter, and functions of art in society. Focusing on Rome, the most cosmopolitan center in Europe prior to 1650, we will study both Italian and foreign artists and patrons. In addition to major artists including the
Carracci, Caravaggio, Bernini, Borromini, and Claude, we will study art collecting and patronage, palace architecture, and the rise of landscape, still life, and genre painting. Assignments include two exams, an oral report on an artwork in an American collection, and a critical paper.
ART 356 JAPANESE ARCHITECTURE
Sec 1 4648 MWF 11:00-11:50 M-3-430
3CR
Victoria Weston (Hayao)
This course surveys the major architectural traditions of Japan from their origins to the twentieth century. Topics include the development of indigenous styles of architecture-Shinto shrines, tea houses and gardens, among others- and the joint impact of Buddhism and Chinese/Korean culture. Satisfies World Cultures Distribution and International Diversity.
Prerequisite: Art L104 or Art 256, or permission of instructor.
ART 380 STUDIO WORKSHOP: Digital Drawing
Sec 1 4644 Th 12:00-3:00 H-UL-Mac Lab A
3CR
Cat Mazza
Digital Drawing is a studio course and experimental drawing class that explores traditional and digital methods in drawing. Students will create drawings that will take shape as prints, wall drawings and electronic books. Concepts in positive and negative space, contour sketches, gesture, landscape, the figure and perspective will be examined on paper, iPad, print, projection and laser cut materials. Students will be required to submit a semester long sketchbook, class exercises and three studio projects.
ART 381 DRAWING WORKSHOP
Sec 1 4642 M 3:30-6:30 H-8-009
Department permission required. Note: Art 381W may be taken 3 (three) times.
Model Fee: $40.00
3CR
Zach Horn
Prereq: Art 281 plus one additional art course or permission of instructor. For students previously enrolled in Art 381W, four art courses, including one in art history.
This course investigates the narrative in drawing and probes innovative and contemporary applications of drawing with related media. Drawing
Workshop is designed to facilitate the creative execution and analysis of an individual aesthetic. Students will experiment with work that challenges the pre-conceived. Content and an interdisciplinary application of drawing with other visual media will be explored.
ART 383 PAINTING WORKSHOP
Sec 1 1420 Tu 12:00-3:00 H-8-013
3CR
Wilfredo Chiesa
Department permission required. Note: Art 383 may be taken 3 (three) times.
Prereq: Art 281 plus one additional art course or permission of instructor. For students previously enrolled in Art 383, four art courses, including one in art history.
This course is designed to explore various approaches and strategies to help the student define a personal vision that has emotional resonance. While the focus is on individual work with ongoing individual and group critiques, classes will include exercises, experimentation with mixed media, technical demonstrations and slide talks.
MODEL FEE: $40.00

ART 386 SCULPTURE WORKSHOP
Sec 1 4643 M 12:00-3:00 H-8-016
Department permission required. Note: Art 386 may be taken 3 (three) times.
3CR
Erik Levine
Prereq: One studio course plus one additional art course or permission of instructor. For students previously enrolled in Art 386, four art courses including one in twentieth-century art history.
Lab Fee: $100.00
This course will act as an advanced forum for visual artists with an emphasis on sculpture and its evolving definition. It will push students to question conventional ideas about contemporary art and define it for themselves. The class will challenge every student to develop a critical self-awareness about his or her own work and better understand the issues and contexts that inform art-making today. The approach will be multidisciplinary, from varied perspectives, and students will further develop a personal artistic vocabulary with the source material that informs it. Individual meetings, critiques, readings, discussions, current exhibitions, and exposure to past and present modes and methodologies of art making will be used to introduce new ways of visual thinking, development, and awareness.
Sec 1 2715 W 12:00-3:00 S-4-101
Department permission required. Note: Art 387 may be taken 3 (three) times.
Liz Marran
Prereq : Art 287 plus one additional art course or permission of instructor. For students previously enrolled in Art 387, four art courses, including one in art history.
Lab Fee: $90.00. A MINIMUM OF THREE HOURS OF LAB PER WEEK IS REQUIRED; SIX ARE RECOMMENDED
.
This course will work with relief prints, mono-prints, intaglio and photo etching with a focus on the relationship between drawing and printing. Students will begin their course of study by generating drawings. From these images, individual students will formulate strategies that can be used to create prints. This course considers the development of drawing dialogue and the translation of one media into another .
ART 393W PHOTOGRAPHY WORKSHOP: Experimental Photography
Sec 1 2411 Th 3:30-6:30 H-8-025
4CR
Staff
Department permission required. Note: Art 393W may be taken 3 (three) times.
Prereq: Art 293 plus one additional art course or permission of instructor. For students previously enrolled in Art 393W, four art courses, including one in art history.
Lab Fee: $100.00.
A MINIMUM OF THREE HOURS OF LAB PER WEEK IS REQUIRED; SIX ARE RECOMMENDED.
NOTE: Photography is an expensive medium. In addition to the lab fee, approximately $275.00 will be required for film, paper and other supplies.
This course is a workshop course, so there will be a lot of independent work expected. However, we will have organized small group critiques and discussions of artists’ work throughout the semester. This course will introduce non-silver imaging, toy cameras, and contact printing as an art form.
Students are expected to challenge themselves and push their knowledge of image making to a new level. There will be a written component and students will be expected to complete all assigned reading material.
ART 397 DIGITAL MEDIA WORKSHOP
Sec 1 4645 Tu 3:30-6:30 H-UL-LAB A
Department permission required. Note: Art 397 may be taken three (3) times.
4CR
Cat Mazza
Prereq: Art 297 or Art 377 or permission of instructor. To repeat Art 397, four art courses, including one in 20th century art history
Lab Fee: $100.00 A MINIMUM OF THREE HOURS OF LAB PER WEEK IS REQUIRED; SIX ARE RECOMMENDED
An exploration of digital media in the process of making art. Students utilize imaging software at an advanced level, building on skills learned in Art
287 and Art 377. The course expands the understanding of digital art as it related to contemporary art practice and to traditional art processes such as drawing and painting.
ART 481 CAPSTONE- The Identity in Art
Sec 1 4646 F 1 2:00-3:00 H-8-025
3CR
Margaret Hart
This capstone course will be organized around the concept of identity within contemporary art. There have been many iterations of this issue in the past decade, which the course will investigate, and students will be asked to respond to creatively, as well as verbally. There will be lectures, slide shows, readings, and discussions to help dissect contemporary issues of identity. The course will be organized around several guest presentations, Inprogress critiques, production of creative work and developing critical thinking, all culminating in an exhibition based on the theme of the course.Also available for qualified students: ART 478 Independent Study
ART 488
ART 491
Field Work - Internship
Honors Project
Please consult Departmental information sheets for requirements and instructions. All students enrolling in Art 478, Art 488, or Art 491 must have the approval of a departmental advisor and the chair and must pay a lab fee if they will be using departmental facilities.