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Course Catalog

Art and Art History

The Department of Art and Art History offers courses of instruction in the studio arts, history of art and museum studies. Students may elect majors or minors in studio art and art history and a minor in museum studies. Studio courses (in drawing, painting, ceramics, sculpture, photography, video and digital art) stress the fundamentals of visual communication and engage students in conceptual and technical exploration of contemporary art practice. Art history courses combine traditional and non-traditional approaches to the study of art, past and present, and stress the importance of viewing visual artifacts and architecture within their social and cultural contexts. Students are encouraged to look at art in an active and engaged way and to think critically about the meaning of art and visual culture in the contemporary world. Both programs, studio and art history, prepare students for graduate programs or entry into a wide variety of professional careers in the arts. Studio majors in the department have gone on to successful careers as practicing artists, gallerists and art educators; those with majors in art history have become art critics, art historians, museum or gallery professionals or arts administrators. The department hosts a range of events, including visits by artists, art historians, curators, and critics, that contribute to the vibrancy of the cultural life of the campus. The Art Center's three large gallery spaces provide a changing schedule of 10-12 exhibitions annually; visiting artists, critics and historians present their own work and meet with students for critiques and discussions; department faculty and students get together for group critiques and the annual major-minor mixer, and the department sponsors a popular bus trip each semester to visit museums and galleries in Chicago, St. Louis, or Cincinnati.


Requirements for a major

Art History

Total courses required Ten
Core courses Any two 100 level courses (ARTH 131,ARTH 132, ARTH 133, ARTH 134, or ARTH 135), and ARTH 494. .
Other required courses At least one course from each of the three groups below, A, B, and C, so as to work across chronological and geographical boundaries within art history:
  • Group A--European Art before 1500: ARTH218, ARTH235, ARTH310, ARTH340, ARTH350;
  • Group B--European and American Art after 1500: ARTH201,ARTH225, ARTH226, ARTH251, ARTH275, ARTH336,ARTH360;
  • Group C--Asian Art: ARTH231, ARTH232, ARTH233, ARTH 234, ARTH331, ARTH332, ARTH333, ARTH 334.
Number 300 and 400 level courses Three: two 300 level courses plus ARTH 494
Senior requirement and capstone experience The senior comprehensive requirement consists of the completion of ARTH 494 with a grade of C- or better, as well as a thesis. The course reviews the major methodologies of art history, through reading and discussion of landmark articles in the field, and initiates students in their application. A major original research paper, on a topic of the student's choosing, is done under the direction of the instructor. The results of the research are presented in a formal twenty-minute public lecture at the end of the semester.
Additional information Additional information: In addition to the eight art history courses, art history majors also must take two courses in cognate fields, one of which is to be chosen from the following: ASIA 140, ASIA 281, CLST 100, CLST 262, CLST 263, CLST 264, ENG 261, ENG 263, ENG 265, ENG 266, ENG 281, ENG 283, HIST 10, HIST 107, HIST 108, HIST 111, HIST 112, PHIL 240, REL 130, REL 132, and REL 259. The other course must be chosen from among the studio courses (any studio course). First-­year seminars on art historical topics may be counted toward an art history major or minor.
Writing in the Major The following courses provide the opportunity to satisfy the writing in the art history major requirement:
  • ARTH 310: Painting and Presence: Image Theory in Late Medieval Art
  • ARTH 360: Pablo Picasso, Henri Matisse, and the Parisian Avant-Garde
  • ARTH 334: Women and East Asian Art

In order to satisfy the writing in the major requirement in one of these courses, the student will produce a satisfactory 10-12 pp. paper reflective of the disciplinary standards of art history, and which meets the following requirements: the effective marshaling of evidence in support of a compelling thesis; a methodological framework; critical use of original sources; interdisciplinary bibliography; Chicago Style footnotes.

Studio Art

Total courses required Eleven
Core courses Three introductory studio art courses--one from each of the following categories recommended:
  • painting/drawing : ARTS 152, ARTS 153
  • photo/new media: ARTS 160, ARTS 163, ARTS 165
  • sculpture/ceramics: ARTS 175, ARTS 170

And Senior Projects: ARTS 491 and ARTS 492

Other required courses Four additional studio art courses at the 200 or 300-level, at least one of which must be at the 300-level. Two art history courses, one survey (ARTH 131, ARTH 132, ARTH 133, ARTH 134, or ARTH 135) and one upper level course (ARTH 226 recommended).
Number 300 and 400 level courses Three including ARTS 491 and ARTS 492
Senior requirement and capstone experience The senior comprehensive requirement consists of the completion of ARTS 491, Senior Projects (fall semester senior year) and ARTS 492, Senior Projects (spring semester senior year) with a grade of C or better, and an exhibition of the student's work at the end of the senior year. Throughout this two seminar sequence, students will review the major methodologies of studio art practice through sustained exploration of ideas, continued experimentation with materials and techniques, ongoing critiques with faculty and peers and the development of a professional artist's packet. Examples of contemporary art practice will be investigated though lectures, readings, research presentations and museum visits. At the end of spring semester, students will present a cohesive, conceptually focused body of work for exhibition and a formal gallery talk at the opening reception in the Visual Arts Gallery.
Writing in the Major

In order to fulfill the writing in the major requirement, studio art majors enrolled in ARTS 491 will write a two to three page research-based artist statement in conversation with the artwork they are producing in their studios. Students will identify and research artistic influences as related to their studio practice, as well as contextualize that practice within art history and contemporary cultural concerns. The ideas that students explore through this writing requirement will be informed by and influence the public presentation of their artwork, which regularly happens through verbal critique and artist talks.


Requirements for a minor

Art History

Total courses required Five
Core courses Four art history courses, one course at the 100 level, and three courses at the 200 or 300 level. At least one course must be at the 300 level. One studio art course.
Other required courses Of the three non-introductory art history courses, one course must be taken from each of the three groups above, A, B, and C. Students considering a minor in art history should consult with an art history faculty member.
Number 300 and 400 level courses One

Studio Art

Total courses required Five
Core courses Four studio art courses. At least one 300 level studio art course is required for all minors.
Other required courses One course in art history.
Number 300 and 400 level courses One

Courses in Art History

ARTH 131

Introduction to Art History Ancient to Medieval

This course surveys the major developments in art and architecture from the Paleolithic period through the high Middle Ages. Emphasis falls on the ancient civilizations of the Near East, Egypt, the Aegean, Greece and Rome, the early Christian world, Byzantium, Islam and the Middle Ages in Western Europe. The approach is at once historical, in that visual forms and types of images are studied in their development over time and across cultures, and anthropological, in the sense that cultures are studied at isolated moments as a way of better understanding the significant roles art and architecture play within them.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 132

Introduction to Art History Renaissance to Modern

A survey of Western Art from the early Italian Renaissance to modern and contemporary art. We will view and discuss the major works of art from this period in chronological sequence, discussing their place in the larger historical developments of the west, including the political, social, economic, philosophical and theological. We will also discuss and practice some basic modes of art historical analysis. Not open to students with credit in ARTH 142.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 133

East Asian Art, Bronze to the Moguls

A survey of the arts of East Asia from 1500 B.C.E to the 14th century, analyzing the major developments in the art and architecture of China, Japan, Korea, and the Ryūkyūs over a range of media. We will study some of the various methodologies that can be applied to East Asian Art as well as key themes in the chronological and historical development of visual cultures against the background of religious, political and social contexts. May count toward Asian Studies.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 134

Art of India

(formerly ARTH 216) Art and architecture of India and Pakistan, also Afghanistan, Cambodia, 250 BC to the present. Concentrates on sacred art (Buddhism, Jainism, Hinduism, Islam): sculpture and architecture and some painting, also modern (postcolonial) and contemporary art, architecture, and especially film. Theological, economic, political and historical conditions will be considered. Develop a critical and formal vocabulary for the major art forms reviewed (sculpture, architecture, painting and film), and develop an understanding of different artistic styles, schools, and traditions, as well as their specific religious, political and cultural contexts.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 135

Developments in East Asian Art, Modernity

A survey of the arts of East Asia from the 14th century to the present, analyzing modernity, as well as the march towards modernity, in the art and architecture of China, Japan, and Korea, and the Ryūkyūs over a range of media. We will study some of the various methodologies that can be applied to East Asian Art as well as key themes in the chronological and historical development of visual cultures against the background of political, social, and cultural contexts. May count toward Asian Studies.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 197

First-Year Seminar

A seminar focused on a theme related to the study of art history. Open only to first-year students.

Distribution Area Prerequisites Credits
1 course

ARTH 218

Cathedral and Court: Gothic Art

This course explores the spectacular visual culture of European society during the High and Late Middle Ages (roughly 12th-15th centuries). In this period the tremendous growth of cities and urban culture, along with economic expansion and social differentiation, created dynamic new forms of interaction between audiences and emerging genres of art.Through selected case studies of architecture, monumental sculpture, stained glass, reliquaries and altar pieces, illuminated manuscripts, luxury ivory carvings and other devotional images (including early graphic arts), students encounter medieval culture and society in all its dazzling diversity.Issues for investigation include: the rise of devotional art and lay spirituality; the impact of miracle tales, relic cults, pilgrimage and other forms of associational worship; the rise of the cult of the Virgin, Mary's role as heavenly intercessor, bridal mysticism and devotion to the Rosary; the culture of chivalry, the impact of the crusades and epic poetry; new forms of social violence, crime and punishment, as well as new models of sexuality and love.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 225

Modern Art and Modernity

Surveys the history of European and American art of the late 19th and first half of the 20th century, paying attention to changes in the artists' goals and understanding of what art is, as well as changes in materials, subject matter, audience and marketing. Some topics covered are: non-naturalistic representation and abstraction; rejection of traditional standards of quality and beauty; the role of the artist in society; mass culture and politics; issues of gender; colonialism; ideals of sincerity and authenticity as they motivated artists and their audiences.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 226

Contemporary Art & Theory

This course will be focused on art from the late 1960s to the present. This is the tradition in art which rejects many of the basic principles and qualities of Modernism; that is, it rejects an exclusive focus on oil painting and pedestal-based sculpture, the autonomy of the artwork from the wider world, and the ideal of the artist as a larger-than-life person. We will address the situation in contemporary art in which art takes on a bewildering array of materials, methods, procedures, goals, and modes of self-presentation, including an emphasis on installation, performance, digital and social media, and an art focused on social interactions.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 231

Prints & Print Culture of Early Modern & Modern Japan

This course explores the spectacle and complexity of Japanese urban life in the early modern and modern periods through a study of the eras' visual arts, particularly woodblock prints, paintings, and print culture. Investigation of pre-modern woodblock prints or ukiyo-e yields a rich tapestry of issues and topics relevant to "early modernity." The study of sōsaku hanga or creative prints, which developed in reaction to ukiyo-e in the early 20th century, expands our understanding of Japanese modernity, as well as of the global impact of Japanese art. We will consider the economic currents of the times, the wealth of the commoner class as well as the concomitant blurring of social boundaries in pre-modern Japan, government attempts at control, the powerful entertainment industries of theatre & sex, the visualization of urban literature, concepts of beauty, the "burden" of history, and the demands of modernity. Our interdisciplinary approach will allow us to engage with not only art-historical issues, but also literary, sociological, historical, and religious concerns.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 232

Warrior Art of Japan and the Ryūkyūs

This course explores the arts produced for and by the warrior elite of Japan and the Ryūkyū islands (now Japan's Okinawa prefecture) from 1185 until 1868. From the tragic tale of Minamoto Yoshitsune to the mythical, warrior origins of Ryūkyū royalty, the class will concentrate on the arts produced for the men who led these nations through both treacherous and prosperous times. We will study arms & armor, castles & retreat pavilions, various ceremonial performances, including Ryūkyūan investiture and the Japanese tea ceremonies, paintings, Noh theatre, Ryūkyūan dance, and film. Through a careful consideration of translated documents, slide reproductions of art objects, movies, and selected treasures from the DePauw University Art Collection, students will learn about what motivated these powerful men to produce art, how they embraced the arts to better themselves culturally, and what these monuments and artworks conveyed about the culture of Japan's and the Ryūkyūs's medieval and early modern eras.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 233

Monumental Art of Japan, 1550-1900: Splendor & Angst

This course explores large-scale art and architecture produced in Japan from 1550 to 1900. These years encompass the last turbulent decades of warfare and the first two centuries of an era of peace, witnessing the construction (and destruction) of resplendent castles, villas, religious complexes, and their accompanying interior decoration. Powerful and pervasive artistic ateliers, which were responsible for the decoration of these structures, also left an indelible artistic stamp on the nation during this period. What role did such resplendent monuments play in the struggle for power, both politically and culturally? For whose eyes was such splendor intended and what hidden, underlying angst pervades these efforts? What aesthetic values are expressed and did they extend beyond the elite, ruling class? Students will consider these questions and more, ultimately investigating the larger role of "art" in society.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 234

East West Encounters

This course examines cross-cultural artistic encounters between the Western world (Europe and the United States) and Asia (India, China, and Japan) from ca. 1500 to the mid-twentieth century, concentrating on the role of art objects and visual culture, broadly speaking, in the cultural exchange between East and West over the past five hundred years. Topics include the impact of Western realism on traditional Asian art forms; the role of commodities and empire in artistic production; Japonisme and Chinoiserie in 19th century Europe and America; early photography; collections of Asian art objects in the West; issues of cultural identity in Asian modernism; and post-World War II abstract art.

Distribution Area Prerequisites Credits
Arts and Humanities None 1 course

ARTH 235

Women and Medieval Art

What was the role of images in women's experience in the Middle Ages? This course seeks to answer that question through an examination of images made of, for and by women in this dynamic period of history. The course is framed by the legalization of Christianity (in 313) and Luther's declaration of Protestantism (in 1517), thereby focusing on the entire medieval tradition and its exploration of gender and image. The course seeks to understand the construction and subversion of gender roles through images. May count towards Women's Studies and European Studies minors.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 251

Van Gogh, Gauguin and Post-Impressionism

This course considers how art historians have conceptualized "Post Impressionism" and explores the institutions and market structure (dealers, auction houses, the apparatus of art criticism) that influenced or controlled how, for whom and under what conditions art in 19th- century France was produced and how, where and by whom art was consumed (that is, used, purchased or viewed). Other issues considered are the fascination with primitivism and the colonial 'other' as well as ideas of genius and madness in creativity, and the role of gender in the creation of the myth of the 'modern' artist.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 251

Van Gogh, Gauguin and Post-Impressionism

This course considers how art historians have conceptualized "Post Impressionism" and explores the institutions and market structure (dealers, auction houses, the apparatus of art criticism) that influenced or controlled how, for whom and under what conditions art in 19th- century France was produced and how, where and by whom art was consumed (that is, used, purchased or viewed). Other issues considered are the fascination with primitivism and the colonial 'other' as well as ideas of genius and madness in creativity, and the role of gender in the creation of the myth of the 'modern' artist.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 265

Art and Literature Paris and Berlin

The Paris of the 19th century, of Zola and the Impressionist painters was the city where the large-scale development of new methods of industry, finance, merchandising, government, and culture were given their most coherent concrete form. In the 20th century Berlin was at the center of, successively, German Expressionist painting, the European film industry, Nazism, and the Cold War. These two European capitals were at the intersection of individual personal experience and titanic historical forces. Close examination of painting, novels, film, architecture and urban planning, and the context within which they were produced.

Distribution Area Prerequisites Credits
1 course

ARTH 265

Art and Literature Paris and Berlin

The Paris of the 19th century, of Zola and the Impressionist painters was the city where the large-scale development of new methods of industry, finance, merchandising, government, and culture were given their most coherent concrete form. In the 20th century Berlin was at the center of, successively, German Expressionist painting, the European film industry, Nazism, and the Cold War. These two European capitals were at the intersection of individual personal experience and titanic historical forces. Close examination of painting, novels, film, architecture and urban planning, and the context within which they were produced.

Distribution Area Prerequisites Credits
1 course

ARTH 275

First World War and Modernist Culture

It is often said that the First World War ' the first industrialized war ' changed everything, brought an end to 19th century culture and politics, and ushered in the Modern era. An entire generation experienced the horrors of the trenches, endless artillery bombardments, and poison gas, only to return home to a world they no longer recognized, and that no longer understood them. The painters, poets, novelists, and movie makers among them did their best to convey their experiences of war and combat through their art forms ' and in the process, contributed to the creation of modernist art and literature. This course will examine the experience of the war through art and literature.

Distribution Area Prerequisites Credits
Arts and Humanities 1

ARTH 275

First World War and Modernist Culture

It is often said that the First World War ' the first industrialized war ' changed everything, brought an end to 19th century culture and politics, and ushered in the Modern era. An entire generation experienced the horrors of the trenches, endless artillery bombardments, and poison gas, only to return home to a world they no longer recognized, and that no longer understood them. The painters, poets, novelists, and movie makers among them did their best to convey their experiences of war and combat through their art forms ' and in the process, contributed to the creation of modernist art and literature. This course will examine the experience of the war through art and literature.

Distribution Area Prerequisites Credits
Arts and Humanities 1

ARTH 290

Topics in The History of Art

An in-depth study of a particular topic in the history of art. It may be an examination of a specific artist, group or movement or an exploration of a particular theme or issue in art.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 310

Painting & Presence: Image Theory in Medieval Art

This course examines the changes and controversies that informed the theory of the late medieval image (1400-1550) in altarpieces and devotional panels, and books of hours. In manifesting the presence of the divine, painting existed at the boundaries of the material and the immaterial, the earthly and the divine, the two-dimensional and three-dimensional, the visible and the invisible. How were these boundaries negotiated by the makers of images? And by their viewers? Study of original sources that theorize image making in conjunction with contemporary art historical scholarship will shape our discussions of how images come to be and how they come to mean. In focusing on the late medieval art of Jan van Eyck, Rogier van der Weyden, Robert Campin and their contemporaries, we will seek to understand the impact of new materials and techniques (oil painting, multiple point perspective), as well as new iconography (The Seven Joys of Mary, the Wound of Christ), new ways of seeing (realism, symbolic and otherwise), and new identities (the new prominence of the artist through signature and commissioned work. The fundamental questions of the course are: 'How does painting create presence?' and 'What are the consequences ofthis creation?' This course counts towards the WIM (Writing in the Major) for art history majors

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 326

Abstract vs. Figurative Painting

Explores origins and developments of abstract painting. Look at, interpret, discuss, and differentiate between different kinds of abstract painting. Is it possible to recognize or find meaning in abstract art, and do different styles of abstraction mean different things? Is it possible to distinguish between good and bad abstract art? Is abstract painting a secret code, an exploration of design ideas and painting techniques, a record of an artist's interior life, or a blank slate onto which we project our own ideas? What is the relationship between abstract painting and the political and social upheavals of the 20th century?

Distribution Area Prerequisites Credits
1 course

ARTH 331

Kyoto: A Cultural Metropolis

This course examines the rich visual culture of Kyoto, the imperial capital of Japan from 794 until 1868. During its long history, the city witnessed astounding growth, cultural flowering first under the emperors and then under various warlords, devastation by wars, fires, and famine, and multiple rebirths. Kyoto presided over some of the nation's greatest artistic achievements including the construction of sumptuous palaces, get-away villas, grand temples, and the production of the paintings and decorative flourishes within these structures. In the early modern period, Kyoto silk weavers, lacquer-ware specialists, book illustrators, calligraphers, and especially, painters commanded the respect of consumers throughout Japan, spreading Kyoto's artistic "style" to other urban centers and to the villages at the peripheries of power. The class will proceed chronologically, beginning with the founding of the city in 794 and ending with the city's role in the restoration of imperial power in 1868. Each week we will focus on specific case studies, monuments, art objects, illustrated works of literature, and maps, as well as translated primary sources and pertinent studies by art historians of Japan. Besides gaining a familiarity with Kyoto's pre-modern visual culture, the class aims to impart an awareness of Kyoto's role in the formation of Japanese 'nationhood' and national identity.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 332

Representation in Japanese Visual Culture

This course examines the concept of "representation" in Japanese visual culture, engaging with subject matter from contemporary times, as well as from Japan's modern and pre-modern periods (12th through the early 20th centuries). We will proceed along thematic lines. Balancing theoretical readings with scholarly articles and a sprinkling of translated primary sources, the class will address issues relating to the representation (or re-presentation) of landscape and the environment, the body and gender roles, canonical narratives as performance, and national identity at three crucial periods in Japan's history. At times we will reference Japanese monuments and works of art produced prior to the early modern era, as well as the Chinese sources that influenced some of the Japanese topics at the locus of our investigation. What lies at the heart of representation--subjectivity, political aims, societal concerns, emotional responses--and the complexity this question reveals are the central concerns of this course.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 333

The Supernatural in Japanese Art

This course explores the theme of the supernatural in Japanese visual culture from the 12th century to the present. With origins in religion, folklore, and literature, otherworldly creatures and their powers have captured the imagination of the Japanese and consequently inspired creative visualizations of them. Students will not only analyze works ranging from traditional painting mediums to contemporary manga, as well as anime, but also will engage with texts that have supernatural worlds and beings as a central element. Moreover, this course will ask students to place these exhilarating and cautionary tales in context: what do these narratives say about the societies that created them, believed in them, and produced visualizations of the supernatural creatures featured within them?

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 334

Women and East Asian Art

This course examines the role of women in the arts in pre-modern East Asia and the negotiation of women's concerns, by female artists, in modern and contemporary East Asian art. Did women have no sense of empowerment at all in pre-modern China, Korea, and Japan? What about Chinese, Korean, and Japanese women artists today? What are their interests and agendas? Students will engage with historical works of art and artists, while concurrently gaining an understanding of gendered female roles as determined by religious, philosophical, and societal conceptualizations of the past. Then, students will study feminist discourses originating from the West in their analysis of modern and contemporary East Asian art by and about women. Ultimately, the aim of this course is to demystify and to complicate understandings about women as the subject of art, as well as women as the producers of art, in East Asia. This course counts towards the WIM (Writing in the Major) requirement for art history majors.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 340

Love and War in Medieval Art and Literature

"Love is a kind of war, and no assignment for cowards." Thus spoke Ovid in c. 2 B.C.E. with great pertinence to love and war in the Middle Ages and to the endeavors of this class. I propose to work with you through three forms of vernacular writing and imagery: war epic poems, Arthurian romances, and allegorical love poetry. All three of these forms were articulated in the incredibly rich 12th - 14th centuries, though often they refer to much earlier periods. All three of these forms flourished outside the purview (and approval) of the Church. And all three of these forms interacted with that most troublesome (because uncontrolled) of all entities: the secular image. Both the texts and images of medieval love and war existed without the sanction or authority of sacred text (i.e. the Bible in its many medieval manifestations). This "unmoored" quality resulted in an especially productive, volatile and fascinating interaction between orality, memory, writing, and transmission. The course seeks to be aware of how "timeless" stories move between various verbal and visual forms, what the impacts of those forms are on the stories, and what happens to them in our modern era (where they are still consistently translated into film and further fiction).

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 350

Race and Difference in Medieval Art

This course seeks to uncover and analyze strategies of difference in the pre-modern years of 1000-1550. Our modern categories of difference and conflict involve race, class and gender: what categories did medieval culture use to mark difference, and what can we learn from them? Starting in northern Europe with the warrior Beowulf's battle against Grendel the monster, moving to Spain and its geopolitics of Convivencia, continuing to the Middle East with the Crusades, and ending in the fantastic maps and travel writings and images of the kingdoms of India, Africa, and China we will study categories of ethnicity, dynastic loyalty, religion, and language, among others, as they constructed difference in medieval textual and visual culture. At stake in this class is a critical understanding of the historical construction of difference, and the lessons it can give us for understanding strategies of difference in our own culture.

Distribution Area Prerequisites Credits
Arts and Humanities 1

ARTH 360

Pablo Picasso, Henri Matisse, and the Parisian Avant-Garde

Pablo Picasso and Henri Matisse were the two artists credited with indicating the two most important directions in 20th century art: a painting of a bold, expressive color, and a painting of analytical attention to the picture's surface. These two artists were rivals for the leadership of an intentional but tightly-knit avant-garde community of other artists, writers, critics, collectors, and provocateurs. Their art has been the focus of numerous studies, books, and exhibitions, but nonetheless remains difficult to describe in words. It will allow students to familiarize themselves with different methods of art historical study, will introduce them to the rich cultural world of early 20th century Paris, and will give them the rich opportunities to develop the kinds of writing skills useful not only in studying art history, but also in working in museums, galleries, auction houses, or in any task that requires sharp, critical writing about something not inherently verbal. The course will touch on critical issues such as the appropriation by European artists of the art of other cultures, the intersections of high art and popular culture, and exhibition practices. This course counts towards the WIM (Writing in the Major) requirement for art history majors.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTH 390

Advanced Topics in the History of Art

An independent directed study centered on a specific topic arranged with the instructor.

Distribution Area Prerequisites Credits
Arts and Humanities 1/2-1 course

ARTH 494

Art History Seminar

Students will research and write a major paper on a topic in art history, and present their work in a public forum. In addition, issues in the current practice of art history will be explored.

Distribution Area Prerequisites Credits
Senior classification and a major in art history 1 course

Courses in Museum Studies

MSST 110

Contemporary Issues in Museum Studies

This course introduces and examines the institutional practices of museums (as well as other exhibition spaces) with emphasis on the ethical dimensions of these practices. How do the creators of exhibits find ways to translate complex ideas and contextual material into accessible, compelling displays? What methods do museum professionals employ to involve and assist visitors? Why do some exhibitions become sites of public controversies and battles over representation- whose voices are heard and whose are silenced? In what manner do discussions of power, privilege, and diversity come into play in museums? How do exhibition planners negotiate ethnic, racial, class, religious, gender, and sexual difference? This course has a two-fold goal: it will introduce students to museums and their operations, and it will explore critical issues of power, privilege, and diversity in contemporary museum studies. In meeting the first goal, we will consider museum missions, practices of collection, exhibition strategies and interpretation, and audience appeal. Then, the class will situate museum strategies and practices in a larger context, examining changing museum ideologies and institutional engagements with the politics of cultural representation, as well as the ethical debates over the 'ownership' of culture and cultural artifacts. Assignments and site visits will further strengthen students' reading, writing, and critical thinking skills.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

MSST 296

Topics in Museum Studies

An in-depth study of a particular topic in museum studies.

Distribution Area Prerequisites Credits
Arts and Humanities 1/2 - 1 course

MSST 396

Advanced Topics in Museum Studies

An in-depth study of a particular topic in museum studies.

Distribution Area Prerequisites Credits
Arts and Humanities 1/2 - 1 course

MSST 493

Museum Studies Capstone

This seminar course provides museum studies minors with an opportunity to synthesize material from previous museum studies courses, internships, and allied coursework by translating theory into practice. Students will first consider the history and ethics of museum practice through small-group discussions and advanced readings in museum theory, curatorial studies, and exhibition design. Then, under the collaborative guidance of art history faculty and the director and curator of galleries, students will co-curate a professional exhibition drawing from the DePauw University permanent art collection of 3,600 objects. Students will design the exhibition thesis and supporting subthemes, synthesize subject material, consider object relationships and layout, and install the final exhibition for public display. The capstone project will culminate in a public exhibition opening, complete with oral representations and tours led by students.

Distribution Area Prerequisites Credits
1 course

Courses in Studio Art

ARTS 152

Drawing: Learning to See

Drawing is one of the most immediate and responsive forms of art-making. This class will introduce concepts that will carry over into other visual practices and develop our ability to recognize and create good drawings.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 153

Introduction to Painting

What is a painting (if not just a rectangle with paint on it)? What makes a good painting (if not just technique)? This class introduces you to the questions and techniques of painting from multiple points of view. While designed for students with little or no experience in painting, this class prepares students for advanced painting classes and independently driven work. We will sharpen our awareness of the ways paintings suggest meaning through form, context, narrative, and its relationship to the viewer.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 160

Introduction to Digital Art

This course investigates software as artistic material and cultural form. Using different platforms and technologies students will gain a tool set of different approaches to begin an art practice in new media/digital art. Students will learn to conceptualize and design their own projects, as well as learn to utilize a variety of software-based art-making strategies in order to resolve these ideas as artworks.

Distribution Area Prerequisites Credits
Arts and Humanities No prerequisites 1 course

ARTS 163

Introduction to Photography

An introduction to the art of black-and-white photography, this course provides opportunities for learning personal expression, critical thinking, and the aesthetics of photography through darkroom experiences and camera assignments. A 35-millimeter camera with a manual control is required. Some cameras are available for student checkout. Please see the instructor.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 165

Introduction to Video Art

An introduction to digital video art production through camera and editing assignments. This course includes readings and screenings on contemporary and historical issues surrounding the medium of video art.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 170

Introduction to Sculpture

An introduction to the concepts and technical skills associated with three dimensional media. The class explores the principles of 3D design, such as structure, organic/inorganic forms and spatial relationships. The curriculum introduces these concepts through a series of projects which develop basic technical skills with a through a variety of materials including clay, plaster, steel, paper and wood.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 175

Introduction to Ceramics

This survey class is an introduction to contemporary ceramic art practice. Through demonstrations, studio work, readings, and critiques, students will build a strong understanding of ceramic concepts, methods, and materials. Course content will explore both handmade pottery and sculptural forms through a range of techniques including hand building, wheel forming and surface development.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 197

First-Year Seminar

A seminar focused on a theme related to the study of studio art. Open only to first-year students.

Distribution Area Prerequisites Credits
1 course

ARTS 198

Introductory Studio Arts Topics

Introductory level studio courses in specific media. Areas of study may include: A. Drawing, B. Painting, C. Ceramics, D. Sculpture, E. Photography, F. Video, G. Digital, H. Interdisciplinary Study. No prerequisite. Not offered Pass/Fail

Distribution Area Prerequisites Credits
Arts and Humanities None 1/2 - 1 course

ARTS 256

Intermediate Painting: The Contemporary Figure

We will explore the ever-evolving presence of the figure in painting and how we can use it to learn about who we are, individually and collectively. The class will engage in an intersectional study of how the figure has been represented throughout history in different cultural expressions. Students will develop the ability to create paintings and articulate ideas. Readings, films, and critiques will prepare each student to pursue studio practice and research. Prerequisite: Introduction to Painting or consent of instructor.

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Painting or consent of instructor 1 course

ARTS 257

Intermediate Painting: Every Painter is a Thief

There's no way around it: you got your ideas from somewhere else. In this class we will explore the lineage of our ideas and be deliberate in their context, function, framing, and form. It matters where our ideas and studio practice come from, but the question is: what do we do with them now that they're ours? Students will develop the ability to create paintings and articulate ideas through comparing what is original, reproduced, and appropriated. Readings, films, and critiques will prepare each student to pursue studio practice and research. Prerequisite: Introduction to Painting

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Painting 1 course

ARTS 262

Intermediate Photography: Studio Lighting

This course explores the lighting studio, digital editing software and digital color printing. Using the lighting studio as a basis for the course, students will explore assignments such as the constructed still life, studio portraiture and the photo tableau with digital cameras. Notions of the real and the ability to create rather than document the world will be central themes of discovery. We will also interrogate concepts of beauty and the historical role of the lighting studio in reinforcing stereotypes about gender and race. Ultimately students will conceptualize how the lighting studio can transform their means of creative production. Emphasis will be placed on independent problem solving, critical thinking, visual literacy and student initiated research. Prerequisite: Introduction to Photography and Intermediate Photography: Digital Photography

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 264

Intermediate Photography: Darkroom Experiments

An introduction to experimental cameras and darkroom photographic techniques, this course will explore alternative methods for creating photography. Technical processes will explore pinhole and Diana cameras, sandwiched negatives, hand-applied emulsions and non-silver alternative processes such as Cyanotype. Students will simultaneously learn the history of photography as they push the boundaries of the medium. Emphasis will be placed on independent problem solving, critical thinking, visual literacy and student initiated research. Prerequisite: Introduction to Photography.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 271

Sculpture in Public Places

This course is an intensive investigation of the methods and theories of contemporary public sculpture. Emphasis will be placed on the acquisition of skills and techniques relating to materials suitable for outdoor display, including woodworking, welding, sewing, and fiberglass resin. Discussions and lectures delve deeply into both the practical issues of public art- model-making, site selection, and presenting ideas for approval- but also the theoretical considerations- how and why art in the public sphere is so distinct from more traditional gallery art. Issues of permanence, site-specificity, community engagement, and environmental concerns will be explored through a series of project such as inflatable art, earthworks, and construction of a large-scale sculpture for exhibition on campus. No previous experience necessary.Course may be taken or repeated at the 300 level with advanced expectations and consent of instructor. Not offered pass/fail.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 272

Kinetic Sculpture

This course explores contemporary time-based art through basic techniques of movement and kinetics. Various methods of motion are explored, including mechanical devices and motors, natural sources such as wind, and manual or man-driven operations. Demonstrations provide the technical and material expertise necessary to complete related projects such as automaton, flying machines, and a Rube Goldberg machine. Discussions, readings and slide lectures will focus on examples of kinetic and time-based art through recent art history, with emphasis on conceptual and visual concerns of moving objects; not just how they function physically, but how they are interpreted in the context of our fast-paced, post-industrial culture. Prerequisite: Introduction to Sculpture or consent of instructor

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Sculpture or consent of instructor 1 course

ARTS 273

Sculpture and Sustainability

This course explores sustainable art practices related to contemporary environmental and economic concerns. Various approaches to sustainability will be discussed and explored while developing artwork that addresses issues of sustainability in both its construction and its content. Demonstrations provide the technical and material expertise necessary to complete related sculptural projects such as building an earthwork from natural materials, making a sculpture for $1.00, and altering/reclaiming found or salvaged objects. Discussions, readings and slide lectures will focus on examples of sustainable art practices through recent art history, with emphasis on conceptual, practical and visual concerns of making sculpture that is environmentally and economically responsible.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 274

Sculpture and Community-Based Art

This course explores experimental art forms used to create socially engaged art. Social practice art often utilizes participatory, community-centered approaches to address pressing political and social concerns, both locally and globally. Demonstrations provide the technical and material expertise necessary to complete related sculptural projects such as building a miniature golf course for charity, designing a project for the Occupy House at Peeler, and creating an independent social practice project. Discussions, readings and slide lectures will focus on examples of social practice art through recent art history, with emphasis on conceptual, practical and visual concerns of researching controversial topics, collaborating with a diverse group of peers and local community members, and creating artwork that maintains high artistic standards while addressing social or political concerns.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 276

Ceramics: Food and Community

This studio art class focuses on the various relationships between ceramics and food, specifically the ways that food and objects are produced, consumed and valued in our contemporary culture. Course content includes explorations of production methods of food, food and identity, food shortages and geophagy (eating clay for nourishment) and mealtime culture. Students will use information from readings and discussions as a foundation to explore food-related issues through ceramic art projects, as well as collaborative and social practice. Demonstrations will cover functional pots, large scale works, customized ceramic surfaces and more. Students will advance their personal art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 277

Ceramics: Material Explorations

This studio art class focuses on both conventional and alternative ceramic materials and processes. Course content explores the relationship between process and product, the implicit meaning of materials, personalized clay and glaze formulation, custom production methods, and more. Students will test materials in the studio and research other artists' work to develop art projects that demonstrate a sophisticated and practiced use of clay, glaze, firing methods and more. Demonstrations will include raw materials tests, glaze composition, large scale construction methods and more. Students will advance their personal art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 278

Ceramics: Making Meaning

This studio art class focuses on the continually evolving cultural significance of ceramic objects, ranging from historical artifacts, to limited production artworks, to mass produced commercial items. Course content explores the ways that various cultural influences, production methods and marketing strategies affect the way we perceive the value and meaning of the things around us. Students will use information from readings and discussions to consider issues such as originality, authorship, production, consumption, and recontextualization. Demonstrations will include mold making, slip casting, ceramic decals, repetition in service of refinement, and wheel and handbuilding techniques. Students will advance their personal art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work.

Distribution Area Prerequisites Credits
Arts and Humanities 1 Course

ARTS 279

Ceramics: The Body

This studio art class focuses on the human figure as related to historical and contemporary ceramics. Course content includes representations of identity, the individual versus the collective, and the performative nature of functional objects in collaboration with the body. Students will use information from readings and discussions as a foundation to explore issues of the body through ceramic art projects. Demonstrations will include rendering the human figure, functional pots, large scale works, customized ceramic surfaces and more. Students will advance their studio art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work.

Distribution Area Prerequisites Credits
Arts and Humanities 1 course

ARTS 298

Intermediate Studio Art Topics

Intermediate level studio courses in specific media. Areas of study may include: A. Drawing, B. Painting, C. Ceramics, D. Sculpture, E. Photography, F. Video, G. Digital, H. Interdisciplinary Study. Prerequisite will vary. Not offered Pass/Fail

Distribution Area Prerequisites Credits
Arts and Humanities Varies according to the topic offered. 1/2-1 course

ARTS 356

Advanced Painting: The Contemporary Figure

We will explore the ever-evolving presence of the figure in painting and how we can use it to learn about who we are, individually and collectively. The class will engage in an intersectional study of how the figure has been represented throughout history in different cultural expressions. Students will develop the ability to create paintings and articulate ideas. Readings, films, and critiques will prepare each student to pursue studio practice and research. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a public artist, and present their research in an oral presentation. Prerequisite: Introduction to Painting and a 200-level Painting course.

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Painting and a 200-level Painting course. 1 course

ARTS 357

Advanced Painting: Every Painter is a Thief

There's no way around it: you got your ideas from somewhere else. In this class we will explore the lineage of our ideas and be deliberate in their context, function, framing, and form. It matters where our ideas and studio practice come from, but the question is: what do we do with them now that they're ours? Students will develop the ability to create paintings and articulate ideas through comparing what is original, reproduced, and appropriated. Readings, films, and critiques will prepare each student to pursue studio practice and research. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a public artist, and present their research in an oral presentation. Prerequisite: Introduction to Painting and a 200-level Painting course.

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Painting and a 200-level Painting course 1 course

ARTS 364

Advanced Photography: Darkroom Experiments

An introduction to experimental cameras and darkroom photographic techniques, this course will explore alternative methods for creating photography. Technical processes will explore pinhole and Diana cameras, sandwiched negatives, hand-applied emulsions, and non-silver alternative processes such as Cyanotype. Students will simultaneously learn the history of photography as they push the boundaries of the medium. Emphasis will be placed on independent problem solving, critical thinking, visual literacy and student initiated research. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a photographic artist, and present their research in an oral presentation. Prerequisite: Introduction to Photography and a 200-level photography course.

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Photography and a 200-level photography course. 1 course

ARTS 366

Advanced Photography: Digital Photography

This course will train students in digital photography including image acquisition, workflow management, digital printing and the software programs such as, Lightroom and Photoshop. We will use this technical training to make conceptually centered images and projects within a studio art environment. The technical training will merely be a foundation for students to develop their own ideas and concepts. The course will consist of completing a series of tutorials in Lightroom as well as demonstrations with cameras, scanners and printers. In addition, we will explore image editing/organizing workflow strategies and advanced image correction. Student's will also be introduced to the history of digital imaging within the field of photography, as well as the early origins of montage and negative compilation from the late 1800's. Like any field, and photography is no exception, technical advancements do not happen in a vacuum. These discussion invariably raise questions about photography's contested relationship to the 'truth.' Through demonstrations, tutorials, class exercises, projects, readings, and slide lectures students will learn to navigate the field of digital photography. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a photographic artist, and present their research in an oral presentation. Advanced students will also design their own project mid-semester. Prerequisite: Introduction to Photography and Intermediate Photography: Digital Photography

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Photography and Intermediate Photography: Digital Photography 1 course

ARTS 371

Advanced Sculpture in Public Places

This course explores the methods and theories of contemporary public sculpture. Emphasis will be placed on the mastery of skills and techniques relating to materials suitable for outdoor display, including woodworking, welding, sewing, and fiberglass resin. Discussions, readings and slide lectures delve deeply into both the practical issues of public art- model-making, site selection, and presenting ideas for approval- but also the theoretical considerations- how and why art in the public sphere is so distinct from more traditional gallery art. Issues of permanence, site-specificity, community engagement, and environmental concerns will be explored through a series of projects such as inflatable art, ambient art, and construction of a large-scale sculpture for exhibition on campus. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a public artist, and present their research in an oral presentation. Prerequisite: Introduction to Sculpture and any 200-level studio art course

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Sculpture and any 200-level studio art course 1 course

ARTS 372

Advanced Kinetic Sculpture

This course explores contemporary time-based art through basic techniques of movement and kinetics. Various methods of motion are explored, including mechanical devices and motors, natural sources such as wind, and manual or man-driven operations. Demonstrations provide the technical and material expertise necessary to complete related projects such as automaton, flying devices, and Rube Goldberg machines. Advanced students will demonstrate mastery of techniques and materials related to time-based construction. Discussions, readings and slide lectures will focus on examples of kinetic art and time-based art through recent art history, with emphasis on conceptual and visual concerns of moving objects; not just how they function physically, but how they are interpreted in the context of our fast-paced, post-industrial culture. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a public artist, and present their research in an oral presentation. Prerequisite: Introduction to Sculpture and any 200-level studio art course

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Sculpture and any 200-level studio art course 1 course

ARTS 373

Advanced Sculpture and Sustainability

This course explores sustainable art practices related to contemporary environmental and economic concerns. Various approaches to sustainability will be discussed and explored while developing artwork that addresses sustainability in both its construction and its content. Demonstrations provide the technical and material expertise necessary to complete related sculptural projects such as building an earthwork from natural materials, making a sculpture for $1.00, and altering/reclaiming found or salvaged objects. Discussions, readings and slide lectures will focus on examples of sustainable art practices through recent art history, with emphasis on conceptual, practical and visual concerns of making sculpture that is environmentally and economically responsible. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on an environmental artist, and present their research in an oral presentation. Prerequisite: Introduction to Sculpture

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Sculpture 1 course

ARTS 374

Advanced Sculpture and Community-Based Art

This course explores experimental art forms used to create socially engaged art. Social practice art often utilizes participatory, community-centered approaches to address pressing political and social concerns, both locally and globally. Demonstrations provide the technical and material expertise necessary to complete related sculptural projects such as building a miniature golf course for charity, designing a project for the Occupy House at Peeler, and creating an independent social practice project. Discussions, readings and slide lectures will focus on examples of social practice art through recent art history, with emphasis on conceptual, practical and visual concerns of researching controversial topics, collaborating with a diverse group of peers and local community members, and creating artwork that maintains high artistic standards while addressing social or political concerns. In addition to completed projects, advanced students will be expected to lead an in-class demonstration on a material or technique they have mastered, complete a research paper on a social practice artist, and present their research in an oral presentation. Prerequisite: Introduction to Sculpture

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Sculpture 1 course

ARTS 376

Advanced Ceramics: Food and Community

This studio art class focuses on the various relationships between ceramics and food, specifically the ways that food and objects are produced, consumed and valued in our contemporary culture. Course content includes explorations of production methods of food, food and identity, food shortages and geophagy (eating clay for nourishment) and mealtime culture. Students will use information from readings and discussions as a foundation to explore food-related issues through ceramic art projects, as well as collaborative and social practice. Additionally, students will lead an in-class demonstration on a material or technique they have mastered and generate a written artist statement that outlines their conceptual and technical approach to their research. Demonstrations will cover functional pots, large scale works, customized ceramic surfaces and more. Students will advance their personal art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work. Prerequisite: Introduction to Ceramics and any 200-level studio art course or consent of instructor.

Distribution Area Prerequisites Credits
Arts and Humanities

ARTS 377

Advanced Ceramics: Material Explorations

This studio art class focuses on both conventional and alternative ceramic materials and processes. Course content explores the relationship between process and product, the implicit meaning of materials, personalized clay and glaze formulation, custom production methods, and more. Students will test materials in the studio and research other artists' work to develop art projects that demonstrate a sophisticated and practiced use of clay, glaze, firing methods and more. Additionally, students will lead an in-class demonstration on a material or technique they have mastered and generate a written artist statement that outlines their conceptual and technical approach to their research. Demonstrations will include raw materials tests, glaze composition, large scale construction methods and more. Students will advance their personal art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work. Prerequisite: Introduction to Ceramics and any 200-level studio art course or consent of instructor.

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Ceramics and any 200-level studio art course or consent of instructor. 1 course

ARTS 378

Advanced Ceramics: Making Meaning

This studio art class focuses on the continually evolving cultural significance of ceramic objects, ranging from historical artifacts, to limited production artworks, to mass produced commercial items. Course content explores the ways that various cultural influences, production methods and marketing strategies affect the way we perceive the value and meaning of the things around us. Students will use information from readings and discussions to consider issues such as originality, authorship, production, consumption, and recontextualization. Additionally, students will lead an in-class demonstration on a material or technique they have mastered and generate a written artist statement that outlines their conceptual and technical approach to their research. Demonstrations will include mold making, slip casting, ceramic decals, repetition in service of refinement, and wheel and handbuilding techniques. Students will advance their personal art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work. Prerequisite: Introduction to Ceramics and any 200-level studio art course or consent of instructor.

Distribution Area Prerequisites Credits
Arts and Humanities

ARTS 379

Advanced Ceramics: The Body

This studio art class focuses on the human figure as related to historical and contemporary ceramics. Course content includes representations of identity, the individual versus the collective, and the performative nature of functional objects in collaboration with the body. Students will use information from readings and discussions as a foundation to explore issues of the body through ceramic art projects. Additionally, students will lead an in-class demonstration on a material or technique they have mastered and generate a written artist statement that outlines their conceptual and technical approach to their research. Demonstrations will include rendering the human figure, functional pots, large scale works, customized ceramic surfaces and more. Students will advance their studio art practice by identifying relevant questions, exploring methods of inquiry, engaging audiences, refining concepts and techniques, and applying critical thinking to individual and group work. Prerequisite: Introduction to Ceramics and a 200-level studio art course or consent of instructor.

Distribution Area Prerequisites Credits
Arts and Humanities Introduction to Ceramics and a 200-level studio art course or consent of instructor. 1 Course

ARTS 398

Advanced Studio Art Topics

Advanced level studio courses in specific media. Areas of study may include: A. Drawing, B. Painting, C. Ceramics, D. Sculpture, E. Photography, F. Video, G. Digital, H. Interdisciplinary Study. Prerequisite will vary. Not offered Pass/Fail

Distribution Area Prerequisites Credits
Arts and Humanities Prerequisite will vary 1/2-1 course

ARTS 491

Senior Projects

This is the first course in a two-semester series of focused studio practice for art majors in their senior year. In this course, students will produce a body of work that explores themes and concepts relevant to their own artistic research. These ideas will serve as the foundation for their exhibition in the Visual Arts Gallery in the spring semester. Through sustained exploration of ideas, continued experimentation with materials and techniques and ongoing critiques with faculty and peers, students will identify and articulate their core practice as an artist. Students will investigate examples of contemporary art practice through lectures, readings, research presentations and museum visits. In order to prepare for the professional art world, students will develop artist statements, document their work in a portfolio and seek opportunities such as exhibitions, residencies and graduate school.

Distribution Area Prerequisites Credits
1 course

ARTS 492

Senior Projects

This is the second course in a two-semester series of focused studio practice for art majors in their senior year. In this course, students will produce a cohesive, conceptually focused body of work for exhibition in the Visual Arts Gallery at the end of spring semester. Students will develop contemporary studio practice through artistic research in support of their individual ideas and evidenced mastery of materials and techniques appropriate to their chosen medium. Students will be expected to demonstrate active independent research and studio management, while participating in art related events on and off campus. With the gallery staff, students will engage in all aspects of exhibition; including design of postcards and advertising material, organization and arrangement of the exhibition, and professional installation and de-installation of their art. Submission of a final artist packet, including artist statement, resume, documentation of art, and slide list, will be required of all students. As part of this course's requirement, each student must also prepare and present a formal gallery talk for the exhibition opening. Not offered pass/fail.

Distribution Area Prerequisites Credits
1 course