Ellen Driscoll and Judy Pfaff (directors), Laura Battle, Ken Buhler, James O. Clark, Daniella Dooling, Kenji Fujita, Marc Ganzglass, Arthur Gibbons, Jeffrey Gibson, Maximilian Goldfarb, Kakyoung Lee, Medrie MacPhee, Lothar Osterburg, Lisa Sanditz, Joseph Santore, Julianne Swartz, Hap Tivey
The Studio Arts Program is available to the student who wishes to major in the program and the student who wishes to experience the visual arts and apply that experience to other disciplines. Visits to museums and galleries in New York City are a requirement of many courses and seminars.
The student who wishes to moderate into the program and graduate with a degree in studio arts must complete the following course components: two art history courses (one to be completed by the time of Moderation; it is also recommended that one be based in contemporary, post-1945 art, when offered); four studio courses from among Drawing I, II, III
; Painting I, II, III; Printmaking I, II, III; Sculpture I, II, III;
and Cybergraphics I, II, III;
and Art 405-406, Senior Seminar
At the end of their fourth semester, students are asked to present a body of work to a group of three faculty members—determined by the program and including the student’s adviser—to assess the student’s work to date, clarify strengths and weaknesses, and discuss curricular and academic goals for the rest of the student’s Bard career. Moderated studio arts majors are eligible for the final workshop component of the Studio Arts Program, which consists of Level III studio classes in a variety of painting, drawing, sculpture, cybergraphics, and printmaking options. The content of each studio class and the degree of structure are up to the individual instructor. Admission is by portfolio.
The exhibition space in the Fisher Studio Arts Building permits an ambitious schedule of exhibitions, which are an integral component of the program. In addition to open student exhibitions, Senior Project shows, and Moderation exhibitions, student work on particular themes is presented at student-curated and faculty-curated shows. Bard’s Center for Curatorial Studies is another on-campus site for exhibitions of contemporary art. The Bard College Exhibition Center, located in the village of Red Hook, consists of two buildings, each with approximately 16,000 square feet of gallery, studio, and class space. The Center gives seniors the opportunity to present their Senior Projects in a professional space dedicated solely to the exhibition of student work.
An introduction to graphic creation using the computer as a compositional tool. The imaging potentials of a variety of graphic applications are discussed and demonstrated during the first half of the course; the second half focuses on individual projects. Basic computer skills are required; minimal ability in Adobe Photoshop or a comparable application is recommended.
For students who have had no experience with painting or need a brush-up. Lectures, demonstrations, exercises, and assigned projects provide a basis in the fundamentals of painting. Students explore color mixing and paint handling and review various compositions/color-organizing principles as they relate to painting.
Students work with basic materials and techniques to investigate form, space, surface, material, location, and gesture. Particular emphasis is placed on direct and improvisational ways of working. The class first works with cardboard, string, found objects, and other simple materials to make three-dimensional artworks. They then move on to mold making, light carpentry, and welding. Group critiques are supplemented by demonstrations in the wood and metal shops along with presentations of relevant contemporary art and readings.
Drawing is the basis of visual intelligence. It enables us to envision and manipulate masses in space as light reveals them. This course examines perception, drawing from objects, the human figure, masterworks, and interior and exterior spaces. Students learn to critique each other’s work orally and in written form. Some drawings are made collaboratively and some explore scale, as assignments include drawings that are both very small and mural-sized.
This course introduces students to art making as a way of understanding the visible world through observation and experimentation. Two- and three-dimensional ideas of space are explored through assignments such as negative space drawings; texture, pattern, and material studies; photo and text collages; and experiments with ordinary materials, such as cardboard and wire. Demonstrations in techniques and media are supplemented by presentations of artists such as Josef Albers, whose teaching ideas inform many of the class’s investigations.
An in-depth introduction to all the basic—and some advanced—processes of intaglio, from drypoint and etching to aquatint, wiping, and printing. The class looks at classic and contemporary uses of intaglio by artists, and students apply the learned skills to projects of their own choosing.
Cybergraphics II: The Graphic Novel
This course addresses the theory, tools, and techniques employed in the digital creation of graphic/text artwork. The primary focus is on printed images, alone and in sequence with the graphic novel. Students use computer software and digital printers to examine a variety of approaches to creating image/text combinations in the traditions of graphic novels, manga, and contemporary painting. Other 200-level courses have addressed advanced digital techniques and art for the street.
Designed for students who are serious about painting, especially from life. Issues discussed in Painting I serve as building blocks for complex figurative compositions. The focus is on the figure, color relations, and how the sensation of color interacting across the plane can create light and space. Recent 200-level painting courses have also addressed abstraction and the painterly print.
Sculpture II: Network Art
This production course explores social media, telepresence, locative media, augmented reality, and other “network-enabled” art forms. Students produce independent and collaborative works that have virtual and physical components, and that consider choice of media, site, and method of distribution as context. Recent 200-level courses have also addressed the artist’s process, casting techniques, interactive strategies, and contemporary sculpture.
Drawing II: Drawing from Nature
For centuries, artists have turned to nature as a source of inspiration. In addition to direct perception by the naked eye, this course allows the student to draw upon a wide variety of resources, some more often relegated to science or math (e.g., microscopes, computers), as a means of gathering visual information about basic structures in nature, growth patterns, and other phenomena less than immediately apparent to the eye. A wide variety of drawing tools may be employed. Recent 200-level drawing classes have also addressed the drawing process, the figure, and mixed media.
Through a series of short assignments in the first half of the semester, students are exposed to more advanced techniques—e.g., multiple-plate registration, printing in color, and the use of different papers—and encouraged to experiment in order to expand on familiar techniques. Students then take on more ambitious projects. Themes explored in other Printmaking II courses include intaglio and print techniques that cross over into drawing, sculpture, and other media.
Cybergraphics III: Digital Graphics / Text
Using computer software and digital printers, students examine various approaches to creating image/text combinations in the traditions of graphic novels, manga, and contemporary painting. Software instruction includes more complex strategies in Photoshop as well as introductions to Illustrator, Manga Studio, Poser, and Zaxwerks ProAnimator. Prerequisite: a basic understanding of Photoshop.
In this course, students focus on enhancing technical and critical skills through the development of individual themes and independent studio practice. Studio work is complemented by discussion of pertinent topics in historical and contemporary painting. Students should be prepared to investigate, experiment, and use individual imagination to produce a body of work consistent with their artistic voice.
Art in Conversation
This course consists of two alternating parts. The first takes place in New York City, where students visit galleries, museums, and studios. The second is a seminar on campus in which students learn how to present and document their work and develop portfolios. They also become familiar with the ins and outs of computer presentations, grant research, etc. Open to 10 students by permission of the instructor.
An examination of light as a medium in the production of artwork. In individual and cooperative projects, students look at techniques for generating luminous structures with conventional hardware, film, video, fire, and theatrical sources. Works by Flavin, Turrell, Boltanski, Richter, Paik, and Viola figure prominently, but the class also explores ancillary contributions by a variety of artists in several fields.
An advanced-level sculpture course that deals with all aspects of construction in a wide variety of materials, especially metals and plastics. Students address actual and illusionary movement, the dynamics of scale in relation to the body, light as transparency and reflection, and the communication of energy through the articulation of space. Open to eight qualified students.
An exploration of drawing in its traditional and experimental forms, from the observed to the imagined. The goal is to help students locate ideas essential to their art and to develop those ideas in the process of drawing. In addition to assignments, students are expected to develop independent drawing projects in consultation with the professor. Prerequisites: Art 107 or 108 and Art 207-208.
This is primarily a studio-oriented class in which students work on a series of projects that push the traditional boundaries of printmaking. Basic relief and intaglio techniques are reviewed, although most technical discussion focuses on what can be done with prints once the matrix (etched plate, carved block, etc.) is created. Through hands-on projects, students challenge themselves in terms of format, scale, technique, and content/concept, and are encouraged to incorporate other media.
Art and the Uses of Photography
Art 316 / Photography 316
See Photography 316 for a course description.
All studio arts majors engaged in Senior Projects meet for a weekly seminar/critique/discussion. The aim is to create a forum where students can exchange views and ideas. The seminar’s form and subject change from week to week but include writing assignments, group critiques, discussions of exhibitions on campus, and conversations with guest speakers.