Program in Visual Arts
Director
P. Adams Sitney
Executive Committee
Ze’eva Cohen, Lewis Center for the Arts, Theater and Dance
Jeffrey Eugenides, Lewis Center for the Arts, Creative Writing
Su Friedrich, Lewis Center for the Arts
Emmet W. S. Gowin, Lewis Center for the Arts
Chang-rae Lee, Lewis Center for the Arts, Creative Writing
Paul B. Muldoon, Lewis Center for the Arts, Creative Writing
Joyce Carol Oates, Lewis Center for the Arts, Creative Writing
James Richardson, English, Lewis Center for the Arts
James L. Seawright, Lewis Center for the Arts
P. Adams Sitney, Lewis Center for the Arts
Edmund V. White, Lewis Center for the Arts, Creative Writing
Professor
Su Friedrich, also Lewis Center for the Arts
Emmet W. S. Gowin, also Lewis Center for the Arts
James L. Seawright, also Lewis Center for the Arts
P. Adams Sitney, also Lewis Center for the Arts
Visiting Associate Professor
Katy Siegel
Senior Lecturer
Eve M. Aschheim, also Lewis Center for the Arts
Lecturer
Ann G. Agee
Benjamin Coonley
Nathaniel Dorsky
Brian Jermusyk
Steven Keister
Jocelyn D. Lee
Allan G. Macintyre
Andrew L. Moore
John J. O’Connor
Keith J. Sanborn
Tommy W. White
The Program in Visual Arts, part of the newly established Lewis Center for the Arts, allows interested undergraduates to explore, under professional guidance, the modes of thought and practice of visual mediums and to develop their creative faculties in connection with a general program of humanistic education. Most courses are by application only, and typically some spaces are available for students who are not necessarily interested in pursuing a concentration in Program 2 in the Department of Art and Archaeology or a certificate in visual arts.
Instruction is offered in drawing, painting, sculpture, photography, digital photography, ceramics, and film and video by members of the program faculty and visiting lecturers. The program offers a course in contemporary art and also courses in film history and criticism. All courses in the program are letter graded. All credit courses in the program may be taken in fulfillment of the distribution requirement in area LA (Literature and the Arts).
A plan of upperclass concentration in the visual arts is offered by the Department of Art and Archaeology in cooperation with the program (see Program 2: History of Art and the Visual Arts, page 101). Students interested in Program 2 should submit an application and portfolio in early April of the sophomore year. Normally students must complete two of the required visual arts courses and art and archaeology courses before enrollment.
Independent work and studio work in the program are carried out under the critical supervision of faculty advisers. For more detailed information, please see Program 2 (page 101).
Certificate Program
A certificate in visual arts will be awarded to students who successfully complete a substantial program of studio work and other requirements, as summarized below, while concentrating in another academic department. Students interested in a certificate in visual arts should submit a portfolio in the spring semester of the sophomore year. Normally students must complete two of the required visual arts courses before being admitted to the program. One course in art and archaeology is also recommended. The requirements are as follows:
1. Five visual arts courses, which must include studio courses in at least two different media, and at least two 300- or 400-level studio courses. Students in the film and video track may take studio courses in just one medium. See below for more information on the film and video track.
2. Two art and archaeology courses in two of the defined fields (Far Eastern, ancient Mediterranean, medieval/early Islamic, Renaissance/Baroque/late Islamic, modern) and must include a course that deals with some aspect of the modern period (1800 to the present), such as ART 212, 213, 214, 343, 344, 348, 350, 371, 452, 456, or other topics in the period. With the permission of the program director, students in the film and video track would instead take two film courses in visual arts, art and archaeology, or any other department or program on campus offering courses in film and video. See the Committee for Film Studies entry for a list of possible courses.
3. Students are required to take a junior seminar in modern or contemporary art, usually in the fall semester of the junior year. It is recommended that students take VIS 392, Issues in Contemporary Art, designed and staffed by the visual arts program to satisfy the needs of student artists. However, other seminars in modern art or in the medium in which a student concentrates may be substituted with the prior permission of the program director.
4. In the junior year, independent work is a year-long major studio project completed and exhibited at the beginning of the senior fall semester. The spring-term grade for junior independent work represents an evaluation of the entire year’s studio work.
5. In the winter of the senior year, students undertake a major independent studio project in consultation with the visual arts advisers. Students present this work at a group senior exhibition in the middle of the spring semester. The grade for the senior work represents the year’s work and includes the oral examination.
6. Independent studio work will normally be undertaken in addition to the independent work requirements of the student’s major department. In certain instances, a student’s home department may be willing to consider visual arts studio work as part of the concentration requirement.
Track in Film and Video
Students interested in film and video production or criticism and analysis may pursue the film and video track within the visual arts certificate program while concentrating in another academic department. Requirements for this track are summarized below. To enter this track students must have the approval of their department of concentration to submit a written critical/historical thesis on a film-related topic or present a creative film work in fulfillment of the senior thesis.
Normally students in this track must complete a production course and a course in film history or theory before being admitted to the program.
The five visual arts courses that students in the film and video track take must include:
1. At least one semester of video production. (Students must also demonstrate competence in handling the tools of filmmaking and projection.)
2. One course in film history and one seminar in film theory or history given within the visual arts program.
Independent work requirements for the track in film and video are consistent with those set forth for the visual arts certificate program. Junior projects and senior theses may be submitted as historical or theoretical essays or as creative works in film, video, or an installation based on either or both media. These projects will be jointly advised by a faculty member from visual arts and a faculty member from the student’s department of concentration.
Credit Courses
VIS 201, 202 Introductory Drawing (also ARC 201, 202) — Fall, Spring LA
This course approaches drawing as a way of thinking and seeing. Students will be introduced to a range of drawing issues, as well as a variety of media, including charcoal, graphite, ink, and oil stick. Subject matter includes still life, the figure, landscape, and architecture. Representation, abstraction, and working from imagination will be explored. A structured independent project will be completed at the end of the term. Two three-hour studio classes. E. Aschheim, J. O’Connor (fall); E. Aschheim, J. O’Connor (spring)
VIS 203, 204 Introductory Painting (also ARC 327, 328) — Fall, Spring LA
An introduction to the materials and methods of painting. The areas to be covered are color and its interaction, the use of form and scale, painting from a model, painting objects with a concern for their mass, and interaction with light. Two three-hour studio classes. B. Jermusyk, T. White (fall); B. Jermusyk (spring)
VIS 211, 212 Introductory Photography — Fall, Spring LA
An introduction to the processes of photography through a series of problems directed toward the handling of light-sensitive material, camera, and printing. Weekly laboratory sessions will explore the critical issues of the medium in relation to both student work and the work of guest photographers. One three-hour class and three hours of independent laboratory. Prerequisite: instructor’s permission. E. Gowin, A. Macintyre, A. Moore (fall); J. Lee (spring)
VIS 221, 222 Introductory Sculpture — Fall, Spring LA
A studio introduction to sculpture, particularly the study of form, space, and the influence of a wide variety of materials and processes on the visual properties of sculpture. Students will develop an understanding of contemporary sculpture and a basic technical facility in a variety of materials and processes. Two three-hour studio classes. J. Seawright
VIS 231, 232 Ceramics — Fall, Spring LA
An introductory-level course designed for students interested in learning the fundamentals of working with clay. A wide variety of hand-building and wheel-throwing techniques will be taught, enabling students to make utilitarian vessels as well as sculptural forms. Students will learn about glazing and colored engobe application methods and how to operate electric and gas kilns. Studio work will be complemented by readings, field trips, and slide presentations. Two three-hour studio classes. S. Keister (fall); Staff (spring)
VIS 242 Film Genres — Not offered this year LA
A historical examination of a film genre—e.g., comedy, documentary, detective film (also called film noir). The objective of the course will be the understanding of the uniquely cinematic aspects of each genre, studied against the backdrop of parallel literary genres (e.g. comedy from Aristophanes to Beckett; documentary fiction and essays; 19th- and 20th-century detective fiction). One genre will be the topic of the course each year. Two 90-minute classes, one film screening. P. Sitney
VIS 261, 262 Introductory Video and Film Production — Fall, Spring LA
A film/video course introducing the techniques of shooting and editing digital video. Works of film/video art are analyzed in order to explore the development of, and innovations in, cinematic language. Production is oriented toward film/video as a visual art, including narrative, documentary, and experimental genres. Several short video projects produced during the semester. Two three-hour classes. Prerequisite: instructor’s permission. B. Coonley (fall); K. Sanborn (spring)
VIS 303, 304 Intermediate Painting — Fall, Spring LA
This course is designed to allow students to explore more deeply the process and meaning of painting. Students will complete a set of structured assignments and are encouraged to develop an independent direction. Contemporary critical theory is integrated into the course. Two three-hour studio classes. Prerequisite: 203, 204 and instructor’s permission. E. Aschheim
VIS 309 The Handprinted Image: Intaglio and Lithography — Not offered this year LA
An introduction to fundamental techniques of copper plate etching, lithography, and relief printing. Assignments focus on applications of various printmaking techniques, while encouraging independent development of subject matter. Critiques will occur throughout the term. Students are encouraged to draw regularly outside of class to cultivate themes and content applicable to their prints. Field trips to the University’s museum and the library’s graphics collection will complement class work. Two three-hour classes. Staff
VIS 312 Introduction to Color Photography — Fall, Spring LA
Theory, processes, and applications of color photography as an artistic medium, exploring camera technique, color film, and darkroom printing methods. Students investigate the formal issues presented by color as an element of the medium and analyze visual content in the broader project of photographic image-making. Prerequisite: 211 or 212 and instructor’s permission. One three-hour class. J. Lee (fall); Staff (spring)
VIS 313 Intermediate Photography — Fall LA
A continuation of 211 or 212, this course focuses on photo chemistry, printmaking methods, and the view camera. The connections between traditions of art, philosophy, science, and photography will continue to be important. One three-hour class and three hours of independent laboratory. Prerequisites: 211, 212, or equivalent experience and instructor’s permission. E. Gowin
VIS 315 Digital Photography — Fall, Spring LA
An advanced seminar and lab that explores the aesthetic and theoretical implications of digital technology in relation to photography. The emphasis is on making the photographic print in the digital work space. Class will consist of both independent and collaborative projects. One three-hour class, one three-hour laboratory. Prerequisites: 211 or 212, or instructor’s permission. A. Moore (fall); Staff (spring)
VIS 341 Women and Film (see WOM 306)
VIS 342 The Cinema from World War II until the Present (also COM 361) — Spring LA
The history of sound and color film produced since World War II. Emphasis on Italian neorealism, French New Wave, American avant-garde, and the accomplishments of such major film makers as Bergman, Hitchcock, Bresson, and Antonioni. Modernism in film will be a central consideration. One three-hour class, weekly film screenings. P. Sitney
VIS 343 Major Filmmakers — Fall LA
This seminar will treat in depth the work of two or three filmmakers of major importance. Specific subjects will vary. P. Sitney
VIS 344 Special Topics in Film History (also HLS 364) — Not offered this year LA
This seminar will deal in some detail with an aspect of film history, focusing on an important movement or exploring a significant issue. Specific topics and prerequisities will vary. P. Sitney, A. Pipolo
VIS 347 Topics in French Cinema (see FRE 391)
VIS 348 Screenwriting as a Visual Medium (see CWR 348)
VIS 350 Poetic Form in Cinema Workshop — Fall LA
One of the most celebrated avant-garde filmmakers, as well as a famous “film doctor” for rescuing films in need of radical revision, will give a workshop-seminar in filmmaking and editing in which the class will collectively produce a Ranga film. Ranga is a form of Japanese linked poetry, the rules of which allow for a collaborative poem to be written amongst four poets. Poet Basho created a guideline for the 36 stanzas of a Ranga poem, and more importantly for this class, discussed the nature of effective or ineffective poetic linkages between Ranga participants. Students will each shoot their own images and together build a cinematic Ranga. One three-hour class. N. Dorsky
VIS 351 Seminar: The Nature of Cinematic Presence — Fall LA
When a filmmaker is fully accomplished, the content and form of a film function in complete union. This full-bodied, heartfelt expression represents a total view or world view. Students will watch a variety of feature-length fiction films and more personal, avant-garde films. What is actually brought forth by the architecture of these visions? How do the films view the world? How do these films actually see? Films include those by Rossellini, Dreyer, Becker, Bresson, Hitchcock, etc., along with shorter works by Jack Chambers, Stan Brakhage, Nathaniel Dorsky, etc. One three-hour seminar, one three-hour film showing. N. Dorsky
VIS 361, 362 Intermediate Video and Film Production — Fall, Spring LA
A second-level film/video workshop focusing on digital media production. Short works of film/video art will be analyzed in class as a guide to the issues of aesthetic choice, editing structure, and challenging one’s audience. Students complete two short videos and a longer final project, and view one film each week outside of class time. Prerequisites: 261 or 262 and instructor’s permission. One three-hour seminar. S. Friedrich (spring)
VIS 372 Theatrical Design (see THR 317)
VIS 392 Issues in Contemporary Art (also ART 392) — Fall LA
A required seminar for art and archaeology Program 2 majors and visual arts certificate students emphasizing contemporary art practices and ideas. The course addresses current issues in painting, drawing, sculpture, film, video, photography, and ceramics. It includes a visiting artist lecture series, critiques of students’ work, and excursions to galleries, museums, and artists’ studios. One three-hour class. K. Siegel
VIS 401 Advanced Drawing — Not offered this year LA
A studio course in which students are encouraged to develop an independent direction while being challenged with projects on issues such as narrative, abstraction, conceptual strategies, collage, computer-aided drawing, and drawing-based installation. Sources include photography, drawing from life, and utilizing one’s own imagination. Study of developments in contemporary drawing will parallel the course projects. Prerequisites: 201, 202, and instructor’s permission. Two three-hour classes. Staff
VIS 403, 404 Advanced Painting — Fall, Spring LA
A studio course focused on advanced problems in painting practice, including pictorial structure in abstraction and representation, color in relationship to space and light, working process, and materials. This course, although structured, encourages development of independent work. Group critiques will be conducted. Students gain awareness of historical models as well as contemporary art, as they build and analyze the relationship between student work and contemporary painting culture. Two three-hour studio classes. Prerequisites: 303 or 304 and instructor’s permission. Staff
VIS 411 Advanced Problems in Photography — Spring LA
Student-initiated problems in photography will be explored in close working relationship with the instructor. Emphasis will be on integrating practice and critical thought. One three-hour class, three hours of independent laboratory. Prerequisites: 211 or 212, and/or 313, and instructor’s permission. Staff
VIS 421 Advanced Sculpture — Not offered this year LA
A studio course in which formal problems are raised and explored through a range of materials. The central focus is on analysis and exploration of the nature of sculptural space. Two three-hour studio classes. Prerequisites: 221 or 222 and instructor’s permission. Staff
VIS 442 Film Theory — Not offered this year LA
An examination of the central texts and abiding issues of the theory of cinema. Properties of the shot as a unit of film construction and its relationship to the space of reality are analyzed. Different kinds of film structures and their theoretical underpinnings are studied. P. Sitney
VIS 443 Topics in Modern Italian Cinema (see ITA 310)
VIS 444 Cinema and the Related Arts (also COM 444) — Not offered this year LA
A seminar examining the ways in which filmmakers have used one of the other arts as part of the self-definition of cinema as an autonomous art. One or two such interactions will be the focus of the course, and will vary by term (e.g., painting, architecture, poetry, narrative fiction). P. Sitney
VIS 445 Fascism in Italian Cinema (see ITA 312)
VIS 446 Marxism in Italian Cinema (see ITA 313)
VIS 448 Screenplay Adaptation (see CWR 448)
VIS 461, 462 Advanced Video and Film Production — Fall, Spring LA
A third-level film/video course to further develop video production skills. Students have the option of spending the term either creating a single long work or a series of short pieces. Short weekly shooting exercises. Students view one film each week outside of class time. Two three-hour classes. Prerequisite: 361 or 362 and instructor’s permission S. Friedrich
VIS 471, 472 Special Topics in Visual Arts — Fall, Spring LA
Advanced work in special areas of the various visual media or in areas where the traditional media intersect (for example, typography, video, photoprintmaking). Specific topics will change from year to year, and prerequisites will vary. Staff