DePauw U: Catalog Majors, Minors, Courses of Instruction

2001-2002 Faculty: Cluver (studio art), Fruhan (art history), Harris (art history), Herrold (studio art), Johnson (art education), Kingsley (studio art) Merback (chair; art history), O'Dell (studio art), Fields Timm (studio art), Van Ael (studio art).

The Department of Art offers courses of instruction in the studio arts, the history of art and art education. Students may elect majors or minors in studio art and art history, and a minor in art education is also offered.

Studio courses (in drawing, painting, ceramics, sculpture, photography, graphic arts, video and computer imaging) stress the fundamentals of visual communication and help the student cultivate the technical skills necessary for the effective expression of their ideas in a given medium.

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. In both the studio and the classroom, students are encouraged to look at art (both their own and that of others) in an active, engaged and productive 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, commercial illustrators and art educators; those with majors in art history have become art critics, art historians, museum or gallery professionals or arts administrators.

Every year, in addition to the usual courses of study, the art department sponsors a number of cultural events that connect the department to the campus at large. The Art Center's gallery provides a changing schedule of eight 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 Raku Party; and the department sponsors a popular bus trip each semester to Chicago or St. Louis.

For students wishing to take a semester off campus (usually recommended for the junior year), the department offers opportunities through the GLCA New York Arts Program, where students intern with recognized artists, photographers, gallery and museum curators -and even with fashion designers, advertising agencies and film or television production companies. Other study-abroad programs, which the department actively encourages for both studio and art history majors, take students to Rome, Florence, London, Freiburg, Athens and other important centers of art and learning.

Instruction for teaching certification in art (K-12) is also an option for department majors. Students seeking certification to teach art in public schools should review Section V, Teacher Education and consult with their advisor in the art department as well as with the chair of the education department about requirements for admission and certification.

Requirements for a major in Studio Art:

Total courses required: nine courses

Core courses: Four introductory courses--one from each of the three areas (A,B,and C) plus one additional course from any of these areas:
A. ARTS 152, ARTS 153
B. ARTS 175, ARTS 170
C. ARTS 163, ARTS 165, ARTS 160

Other required courses: Three 200 level courses (two of which must be a continuation of a 100 level course). The third course may be a topics course with no prerequisite:
A. ARTS 252, ARTS 253, ARTS 251
B. ARTS 275
C. ARTS 263, ARTS 265, ARTS 290A, 290B, 290C
One 300 level course that continues with a course taken at the 200 level. This course should be taken the first semester of the Senior year and must anticipate the discipline to be pursued in Senior Projects:
A. ARTS 353
B. ARTS 375
C. ARTS 363, ARTS 365, ARTS 390A, 390B, 390C

# 300 and 400 level courses: three courses

Senior requirement: The senior comprehensive requirement consists of the completion of ARTS 492 with a grade of C or better, as well as an exhibition of the student's work in the Art Center Gallery at the end of the senior year.

Additional information: Students must take two art history courses, one of which must be ARTH 132. The other must be a 200- or 300- level course in modern or contemporary art.

Requirements for a major in Art History:

Total courses required: eight courses

Core courses:
ARTH 131, ARTH 494
either ARTH 132 or ARTH 142.

Other required courses:
One course (not including 131), which covers pre-Renaissance material, should be chosen from the following: ARTH 212, ARTH 218, ARTH 232, ARTH 235, ARTH 321, ARTH 332.

# 300 and 400 level courses: three (ARTH 494 counts as one of these) courses

Senior requirement: The senior comprehensive requirement consists of the completion of ARTH 494 with a grade of C or better, as well as a thesis.

Additional information:
In addition to the eight art history courses, art history majors also must take two courses in cognate fields, one of which should be chosen from the following: CLST 100, PHIL 214, REL 132, CLST 262, 263, 264, HIST 111, 112, 201. The other course should be chosen from among the studio courses (any studio course).
It is recommended that art history majors take at least one course in each of the following four time periods: Medieval, Renaissance, Baroque and 19th Century/Modern. First-year seminars on art historical topics may be counted toward an art history major or minor.

Requirements for a minor in Studio Art:

Total courses required: five courses

Core courses: four studio courses and one course in art history

Other courses:

# 300 and 400 level courses: one course

Requirements for a minor in Art History:

Total courses required: five courses

Core courses: four art history courses, one of which must be ARTH 131, ARTH 132 or ARTH 142, and a studio art course

Other courses:
Of the three non-introductory art history courses, one must cover the pre-Renaissance material (ARTH 212, 218, 232, 235, 321, 332), and another must cover art of the Renaissance or later (ARTH 201, 295, 302, 310, 340, 352).
Students considering a minor in art history should consult with the department by the end of the sophomore year.

# 300 and 400 level courses: one course

Requirements for a minor in Art Education:

Total courses required: five courses

Core courses:
ARTS 152 or 153; ARTS 170 or 175
ARTH 131 or 132
ARTS 260, ARTE 400EL

Other courses: One beginning studio course in drawing, printmaking or painting is also required for the minor.

# 300 and 400 level courses: one course

Courses in Art

Courses in Art History

ARTH 131. Introduction to Art History Ancient to Medieval --1 course
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. Lectures are complemented by weekly reading groups which meet to discuss key problems and explore alternative theories of human cultural and artistic evolution.

ARTH 132. Introduction to Art History Renaissance to Modern --1 course
A survey of the history of Western art covering painting, sculpture and architecture from the Renaissance to the present. In addition to investigating artists and their works, this course looks at a variety of issues in and methodological approaches to art history. It will investigate questions such as: What is art? How do cultural biases affect the way we see? What is the role of patronage/the art market? What role have women played in the art world? What are some of the ethical and moral issues facing art museums? Class sessions include both discussions and lectures. ARTH 131 is not a prerequisite for ARTH 132.

ARTH 142. Issues in Art --1 course
What is art? Why is it important? How and what do works of art mean? How does art help us both shape and make sense of our world? These are the overarching questions that the course will address as we thread our way through the examination of various genres of art--from traditional (landscape, portraiture) to contemporary (video, performance art); as we explore art in its economic, social and political dimensions (looking, for example, at public art and identity politics or at controversial art and the First Amendment); and as we examine the role art can play in our public and private consciousness. We will be mindful throughout of how the production of meaning in art involves a complex collaboration of artist, viewers, and artwork. In this discussion-based course we will be active viewers and analytical thinkers--reading, writing and looking, in a critical way, at images in slides, at actual works of art, and at films and videos.

ARTH 197H. First-Year Seminar --1 course
A seminar focused on a theme related to the study of art history. Open only to first-year students.

ARTH 201. Baroque Art: The Age of the Marvelous --1 course
The course introduces the major painters and sculptors (Rembrandt, Rubens, Vermeer, Caravaggio, Bernini, Artemisia Gentileschi, Velazques and others) of seventeenth-century Europe by exploring a few major themes. Using, as an overarching concept, the Baroque as the "age of the Marvelous", allows us to view intersections among the worlds of art, science, theater, printing, mechanical engineering, religion and the occult. The course examines the visual arts in relation to various contexts--economic, historic, and domestic--as well as institutions--the Church, the monarchy, and academies of art. It investigates the development of certain subjects that emerged as indepenedent genres in the 17th century: still life, landscape, and genre painting. The course also looks at how artists perceived themselves and were perceived (some would say "constructed") both by their contemporaries and by susequent writers up to the present day. We concern ourselves throughout with the complex process of interpretation--looking not only at what works of art mean, but how they mean.

ARTH 212. Image, Cult, Devotion:Medieval Devotional Art and Its Audiences --1 course
This course examines the stunning variety of images (paintings, sculptures, prints) which served as catalysts to religious devotion for medieval and Renaissance Christians. Beginning with the first image cults in the sixth century, and concluding with the Reformation's renewed call to restrict, censor or liquidate images in the sixteenth, it attempts to trace the history of attitudes toward such "devotional" imagery inside both the "high" intellectual culture, and the "low" popular culture of these periods. Why did cults form around certain types of pictures and why were they considered illegitimate by authorities? How did images such as the tormented "Man of Sorrows," or the lamenting Virgin of the Pieta, which had no basis in the Gospels, become so popular and so important to the progress of lay spirituality? How did miraculous images of the saints--images which answered prayers, comforted the sinner or healed the sick with effusions of tears, blood or milk--become invested with such powers? What are the cultural-political implications for the image- controversies of today? Drawing on psychology, anthropology, social history and linguistics, we will see how the makers of devotional art create and shape certain kinds of viewing practices and how, in social terms, new audiences for the new genres are created.

ARTH 218. Cathedral and Court: Gothic Art --1 course
This course examines selected aspects of architectural and artistic production during the high and late Middle Ages in western Europe. Most of the course centers on the revolutionary developments in architecture of the 12th century - the great Gothic cathedrals, with their rich sculpture and breathtaking stained glass windows. Church building is studied in the multiple contexts of medieval metaphysics, political consolidation and court patronage in France, the emergent urban economy and the class conflicts which accompanied it. Illustrated manuscripts are studied as mediums of pictorial innovation and objects of exquisite beauty, as well as sites of struggle between the Biblical truths at their center, and the obscene humor and parody at their margins. Selected aspects of the decorative arts are also studied. Lectures and group discussions.

ARTH 232. Islamic Art and Architecture --1 course
This course is an introduction to Muslim visual culture from its Arabian origins, through the medieval period of its asendance and international dominance, to the Turkish conquest of Constantinople in 1453 and the Mughal dynasty's rule in India. Through slide-based lectures and group discussions, students encounter the astonishing beauty of monuments like the Dome of the Rock in Jerusalem, the Great Mosque of Cordoba, the Alhambra Palace in Granada, the Taj Mahal in Agra and many others. An introductory section surveys the historical and geographical parameters of Islamic civilization, its religious worldview, forms of authority and social organization. Other historical issues include the cultural politics of conquest, the appropriation of Jewish and Christian holy sites, the impact of the Crusades and the Reconquista in Spain, and the transmission of Greek science and philosophy to Western Europe through Arabic learning. Students take different approaches to a diversity of architectural monuments and examine their decoration in a variety of media (painting, mosaic, stucco, ceramic tile). The luxury arts--breathtaking carvings in ivory or gold, lavishly illustrated manuscripts--are also studied in their cultural context. A final section examines Islamic attitudes towards the arts, the prohibition of figurative imagery, the preeminence of calligraphy and textiles, and the dazzling complexity of geometrical designs. Throughout the course students are made aware of the process of creative assimilation from pre-Islamic or non-Muslim traditions, a process by which Islam gradually took on its own distinct visual identity and generated its own cultural ambiance.

ARTH 235. Women and Medieval Art --1 course
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. Issues and characters surrounding the representation of women include the fundamental figures of Eve and Mary, the varying roles of female saints, and the figuration of women in medical manuscripts. The patronage of women in art shaped several long-lasting traditions, including courtly love and its accompanying allegorical imageries of chess, gardens, and castles; it also invites investigation into the artistic creativity of women, and the role of women patrons in historical manuscripts and their concurrent political claims. The course considers the use and manipulation of images by women such as nuns and their visions of Christ, and aristocratic women and their personalized books of hours (medieval prayer books). A variety of media present the issues of the course: panel painting, manuscript illumination, sculpture, stained glass, tapestry, and ivory. The course seeks to understand the construction and subversion of gender roles through images. Reading of medieval sources in translation; discussion-based class. This course is cross-listed with Women's Studies.

ARTH 290. Topics in The History of Art --1 course
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.

ARTH 295. Art, Experience, Criticism: From Modernism to Postmodernism --1 course
This seminar-style course provides the student with a rigorous introduction to the history and theory of art criticism as a discourse about art, as well as an opportunity to cultivate the skills of the critic him- or herself. Weekly readings and discussions explore a wide range of topics such as the birth of aesthetics, modernity and modernism, abstract art and avant-gardism, kitsch, pop art, Minimalism and varieties of postmodernism. Special topics, such as art and obscenity, public art, the museum, art and radical politics, feminism, gay and lesbian culture, and art and racism are democratically selected by the class in the final weeks of the course. Open to all students.

ARTH 302. Italian Renaissance Art --1 course
The course explores developments in the visual arts (primarily painting and sculpture) in 15th and 16th century Italy. It includes such artists as Masaccio, Donatello, Sofonisba Anguissola, Botticelli, Leonardo and Michelangelo. The course is partly a chronological survey and partly a thematic exploration of important issues - the social construction of the artist; the problematic notion of "secularism" as it applies to Renaissance art; the concept of humanism and its effect on creative developments; the problems of Renaissance historiography; the question of whether or not women had a Renaissance. The class is also concerned with the presuppositions on which art historians have based their interpretations of Renaissance art and culture and on the methods that they have applied to support these presuppositions. A portion of the readings are from contemporary sources - the writings of Vasari, Alberti, Ghiberti, Michelangelo and Castiglione to name a few. Class sessions will be mostly discussion.

ARTH 310. Northern Renaissance Art --1 course
This course examines the major painters working in the Low Countries (present day Belguim, Luxembourg, and the Netherlands) during the dynamic era stretching from the mid-fourteenth to the mid-sixteenth century, the period known as the "Renaissance of the North". An initial survey covers the great Flemish "primitives" Robert Campin, Jan van Eyck, and Rogier van der Weyden; then their brilliant line of followers, Hans Memling, Hugo van der Goes, Geertgen tot Sint Jans, Hieronymus Bosch and Pieter Brueghel are studied. Through group discussions, collaborative visual analyses and illustrated lectures students become engaged not only with the unique visual character of these marvelous works of art, but also with their cultic, devotional, social and political uses, the constellation of meanings they embodied for their makers, their patrons and their beholders. Special topics include: the development of a northern European realist tradition, the changing forms of patronage and aesthetic production, the rising social status of the artist, the changing character of piety and religious experience, the creation of new devotional genres, the impact of humanism and Reformation and the evolution of secular imagery.

ARTH 321. Crusade and Cloister: Romanesque Art and Medieval Society --1 course
This course looks at architectural and artistic production during the heyday of feudal Europe, the 10th-11th centuries, a society divided into "three orders": knights in combat, monks at prayer and peasants at work. Popular faith at this time produced a zeal for pilgrimage, a zeal that combined with the warrior ethos of the knight to call forth the first "armed pilgrimages," the Crusades. Religious architecture and monumental church sculpture - an art form which resurfaces after nearly 500 years of neglect - were directly shaped by these historical and cultural developments. Each will be studied in its historical context, with an eye to the new ways in which images and buildings were enlisted in the diverse struggles - social, political, military, theological - with which medieval society found itself faced after the year 1000. Lectures and group discussions.

ARTH 330. Van Gogh, Gauguin and "Post Impressionism" --1 course
This course considers how art historians have conceptualized "Post Impressionism" and explores the institutions (Academy, Salon, Ecole des Beaux Arts) 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 social and financial consequences of the artists' independence from traditional institutions in nineteenth-century France and how women artists did or did not fit into these institutional and market structures. The "Post Impressionist" artists studied will be used as springboards to discuss some larger themes about art, artists, critics and audiences in a particular historical moment. Some of these artists were involved in the social movements of their time and can, therefore, be discussed against a background of modern urbanization and the philosophical, cultural, scientific and social theories of some of their contemporaries. Readings include primary sources--artists' letters, journals and other writings as well as excerpts from contemporary works and art criticism from specialized and mainstream journals of the late nineteenth century.

ARTH 332. Sin, Fear and Death in European Art,1050-1550 --1 course
This course explores a range of visual genres which, for medieval and early modern Europeans, thematized ideas about sin and vice, guilt and penance, contempts for the world, death, burial and decay, the horror of Hell, the quest for purgation and the hope of resurrection at the end of time. Illustrated manuscripts of the Apocalypse; panoramic Last Judgment scenes from church portals; gruesome depictions of saints' deaths; miraculous images of Christ as the tortured Man of Sorrows; the sculpture of the so-called transi tombs (which showed the deceased as a worm-eaten skeleton); visions of Hell and its torments; and the "Dance of Death" of the early Renaissance, are all studies in the cultural context of Christian theology, popular religion and devotions, the monastic literature of the macabre, the catastrophes of the Black Death era, radical millenarianism and the repression of groups deemed deviant (heretics, homosexuals, Jews, witches) through to the Protestant Reformation and its aftermath. Did the Middle Ages bequeath to us, as one historian claims, a distinctly Western "guilt culture," and if so, how has the iconography of sin and death persisted in Western art up to the present day?

ARTH 345. History of Self-Portraiture --1 course
The self-portrait has a long and varied history: part manifesto, part self-expression, part philosophical investigation, the self-portrait invites questions of creativity and identity. How does an artist construct a self-portrait to represent both the self and the artistic project? The answers to this question provoke an examination of the changing uses and transformations of the genre. The course begins with the early explorations of self-portraiture in the Middle Ages and continues through to the emergence of the self-portrait in the Northern and Italian Renaissances, its full expression in the Baroque period, its politicization in the Neo-Classicism of the 18th century, its controversies in the 19th century, and its powerful and increasingly pervasive presence in the 20th century. The artists studied include van Eyck, Botticelli, Caravaggio, Artemisia Gentilleschi, Rembrandt, David, Courbet, Munch, van Gogh, Malevich, Andy Warhol, Frida Kahlo, and Cindy Sherman among others. At stake is the process through which an artist presents his or her artistic mission through the self-portrait. What are Botticelli's motivations for including his self-portrait in a painting representing members of the powerful Medici family as the Three Magi? With what messages does van Gogh send Gauguin a self-portrait as a Japanese monk? How does Frida Kahlo construct a radical political identity for herself through her self-portraits? The course incorporates both original sources written by the artists themselves and scholarly sources contextualizing the artists and their self-portraits. Discussion-based course.

ARTH 352. Gender and Representation: Early Modern Europe --1 course
This course analyzes how specific types of images--such as the nude, figurations of sexuality, images of parenthood, family and domesticity--both reflect and shape cultural attitudes toward gender and art. A primary goal of the course is to ask how given images in both their subject and formal structure, reflected, helped to construct, or sometimes subverted ideas about gender, and especially women's, roles in Europe from the 15th through the 17th centuries. The course also covers more marginalized groups of women--female mystics, "witches," prostitutes--looking at how historical ideas about these women are embodied in visual images of them. The course considers men and women as both makers and consumers of art, looks at the changing concepts of creativity and the ways in which art production came to be stratified along gender lines. We examine textile and graphic arts along with more traditional "high art" image-making. Readings in the course are both historical and art-historical; they include a variety of contemporary writings through which we explore some of the ideologies that drove how literate people in early modern Europe conceptualized the notion of "woman" . The class format is primarily discussion based on close reading of texts and images.

ARTH 390H. Advanced Topics in the History of Art --1/2-1 course
An independent directed study centered on a specific topic arranged with the instructor.

ARTH 494. Art History Projects --1 course
Advanced work in art history. Prerequisite: senior classification and a major in art history.

Courses in Studio Art

ARTS 152. Drawing I [0-6] (formerly ARTS 120) --1 course
Designed for the student with little or no prior drawing experience. This is an introduction to, and the practice of, the fundamental principles of drawing, i.e., light and shade, perspective, composition, line and form. These basic principles are taught in conjunction with slide lectures and discussions of the drawing ideology of the masters. Not offered pass-fail.

ARTS 153. Painting I [0-6] (formerly ARTS 240) --1 course
Designed for the student with little or no prior oil painting experience. This introduction includes development of a basic understanding of oil painting, color principles, line, form and composition. Principles are taught in conjunction with slide presentations and discussions of the painting ideology of past as well as contemporary masters. Not offered pass-fail.

ARTS 160. Digital Art I [0-6] (formerly ARTS 250) --1 course
The course involves the exploration of a sequence of computer imaging concepts that begins with an introduction to object and bit map image making. These types of images are then used in context of computer animation that is output as video or run on the computer. The course concludes with an introduction to hypermedia authoring in which the imaging and animation techniques explored earlier are applied to the creation of computer documents that also incorporate sound and interactivity. Not offered pass-fail.

ARTS 163. Photography I [0-6] (formerly ARTS 280) --1 course
An introduction to the art of black and white photography, this course provides opportunities for learning personal expression, communication, critical thinking, and the aesthetics of photography through darkroom experiences and camera assignments. A 35-millimeter camera with a manual control is required. Not offered pass-fail.

ARTS 165 . Video I [0-6] (formerly ARTS 230) --1 course
An introduction to video art production through camera and editing assignments. This course includes readings, screenings and seminars on contemporary and historical issues surrounding the medium of video art. Not offered pass-fail.

ARTS 170. Sculpture I --1 course
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 variety of materials that include clay, plaster, steel, paper and wood.

ARTS 175. Ceramics I [0-6] (formerly ARTS 260) --1 course
Basic experience with fired clay as an art material. The techniques of shaping, glazing and firing clay. An introduction to the chemistry of glazes and heat treatment. Not offered pass-fail.

ARTS 197S. First-Year Seminar --1 course
A seminar focused on a theme related to the study of studio art. Open only to first-year students.

ARTS 251. Collage [0-6] (formerly ARTS 231) --1 course
This studio course investigates the use of found or non-traditional media in the production of 2-D and 3-D works of art. Slide lectures, projects and critiques will explore the theoretical, historical and critical base of the media from modernist developments to post-modernist, with applied elements of creative design. Students are expected to merge critical thought with design and craft sensibilities toward the end of developing personal forms of expression. Not offered pass-fail.

ARTS 252. Drawing II [0-6] (formerly ARTS 320) --1 course
Designed to teach the student the fundamentals of drawing the human figure. Proportion, muscular reference points, line quality and mass are stressed in developing the student's figure drawing ability. Work is done directly from the human figure along with slide presentations to enhance the student's knowledge of the masters and the historical figure ideology. Not offered pass-fail.

ARTS 253. Painting II [0-6] (formerly ARTS 341) --1 course
An in-depth study of painting with attention being given to individual tendencies, preferences and style. Prerequisite: ARTS 153. Not offered pass-fail.

ARTS 263. Photography II (formerly ARTS 381) --1 course
Continuing work in traditional and experimental techniques of photography. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 163. Not offered pass-fail.

ARTS 265. Video II (formerly ARTS 383) --1 course
Continuing work in traditional and experimental techniques of video art. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 165.

ARTS 275. Ceramics II [0-6] (formerly ARTS 361) --1 course
Advanced work with clay and glazes. Emphasis on kiln stacking and firing and individual projects. Prerequisite: ARTS 175. Not offered pass-fail.

ARTS 290. Topics --1 course
A. Drawing and Painting; B.Ceramics and Sculpture; C. Photography, Video and Digital Art. Studio work in specialty media not otherwise offered.

ARTS 353. Painting III (formerly ARTS 342) --1 course
An indepth study of painting with attention being given to individual content, preferences, and style. Prerequisite: ARTS 253. Not offered pass/fail.

ARTS 363. Photography III (formerly ARTS 382) --1 course
Continuing work in traditional and experimental techniques of photography. Emphasis on individual developments of both conceptual and technical concerns. Prerequisite: ARTS 263. Nof offered pass/fail.

ARTS 365. Video III (formerly ARTS 384) --1 course
Continuing work in traditional and experimental techniques of video art. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 265. Not offered pass/fail.

ARTS 375. Ceramics III (formerly ARTS 362) --1 course
Advanced work with clay and glazes. Emphasis on kiln stacking and firing and individual projects. Prerequisite: ARTS 275. Not offered pass/fail.

ARTS 390. Studio Art Topics [0-6] --1/2-1 course
Studio work in specialty media such as jewelrymaking, silkscreening, sculpture, stained glass, advanced drawing and other media.

ARTS 492. Senior Projects [0-6] --1 course
A. Printmaking; B. Painting; C. Sculpture; D. Ceramic; E. Drawing; F. Commercial Design. Advanced work in the preceding fields. Prerequisite: senior classification and a major in art.

Courses in Art Education

ARTE 400. Art Teaching Methods --1 course
Meets the requirements of students seeking a teaching certificate in art K-12. (This course is a study of the philosophy of education.) Includes lesson planning, courses of study, sources of supplies and equipment used in teaching art. Prerequisite: an art major with junior or senior classification.

ARTE 400EL. Art Teaching Methods for Elementary Schools --1 course
Designed to introduce the elementary teaching majors to the purposes and methods of art education at the elementary level. (This course is a study of the philosophy of education.) Practically, the course introduces the various media available to the classroom teacher and the role of art education in the grades. Prerequisite: junior or senior classification.

email: sbates@depauw.edu

Last Updated: 3/25/2002