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Course Criteria
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3.00 Credits
PQ: ARTV 10100 or ARTV 10200, or consent of instructor. This course introduces basic concepts and techniques central to modeling, animating, and rendering 3D computer graphics. Using the Maya software package, we will learn core elements of polygonal and NURBS modeling, as well as basic animation methods. Lighting and the application of materials for rendering will also be explored. Concurrent to technical concerns, the course investigates concepts and issues inherent to the visual simulation of reality. Lab fee $75. J. Salavon. Spring.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. This course addresses the exchange and influence between contemporary visual arts production, the media, popular culture, and the transformation of traditional social norms that program the conventions on identity. At the time of the final presentation, the transformation and the built outfit is accompanied with a set of gestures, body language, and behaviors, as well as location and situation that informs the created persona. Although sculpture oriented, the course engages in other artistic practices and includes group critiques and discussion. We read texts by authors including Jones, Goffman, Mu oz, and Schechner; and we see work by artists including Yonibare, Kusama, Clark, Duchamp, Picabia, Bausch, and Amorales. Visits to galleries, museums, and other cultural sites required. Lab fee $60. T. Bruguera. Spring.
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3.00 Credits
This course may be repeated. This course is designed for students with a background or special interest in any art form to develop "performance installations" by exploring the intersections and boundaries between art forms (i.e., theater, visual art, music, dance, creative writing) and practices that are themselves at the margins of what we think of as art (e.g., martial arts, circus, comic books, new media, graffiti). The work will be collectively created . Lab fee $50. P. Pascoe. Autumn, Spring.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. Courses taught concurrently and can be repeated as part of an ongoing, developing photographic project. Camera and light meter required. The goal of this course is to foster investigations and explorations of students in photography (e.g., refine their craft in black and white or color, with a different format camera, or by utilizing light-sensitive materials). Students pursue a line of artistic inquiry by participating in a process that involves experimentation, reading, gallery visits, critiques, and discussions, but mostly by producing images. Primary emphasis is placed upon the visual articulation of the ideas of students through their work, as well as the verbal expression of their ideas in class discussions, critiques, and artist's statements. Lab fee $70. L. Letinsky. Spring.
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3.00 Credits
PQ: Prior philosophy course or consent of instructor. This course centers on a close reading of the first volume of Michel Foucault's The History of Sexuality, with some attention to his writings on the history of ancient conceptualizations of sex. How should a history of sexuality take into account scientific theories, social relations of power, and different experiences of the self We discuss the contrasting descriptions and conceptions of sexual behavior before and after the emergence of a science of sexuality. Other writers influenced by and critical of Foucault are also discussed. A. Davidson. Autumn.
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3.00 Credits
This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. Autumn, Spring.
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3.00 Credits
PQ: Any 10000-level ARTH or ARTV course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices, and a "habitat" in which images proliferate and take on a "life of their own." Readings include classic texts (e.g. Plato's Allegory of the Cave and Cratylus, Aristotle' s Poetics ) and modern texts (e.g., Marshal l McLuhan ? Understanding Medi a; Reg is Debray 's Mediolo gy; Friedr ich Kittle r's Gramophone, Film, Typewrit er). We also look at recent films (e .g., The Matrix, eXist enZ) that project fantasies of a world of total mediation and hyperreality. Course requirements include one "show and tell" presentation that introduces a specific m edium. W. J. T. Mitchell. Wi
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3.00 Credits
This course explores the application of the visual and aural arts to the varied forms of design for the stage (i.e., scenic, lighting, costume, sound). We pay particular attention to the development of a cogent and well-reasoned analysis of text and an articulate use of the elements of design through a set of guided practical projects. Lab fee required. T. Burch. Autumn.
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3.00 Credits
Public art has experienced tremendous change in the past twenty years, no longer stopping at the monumental forms of the early twentieth century. They have come to include temporary, socially charged, and environmentally responsive projects. What is this new public art, and how does it engage and inform public discourse This course seeks to tease out answers by surveying contemporary projects, both nationally and internationally. We also look at the processes by which artists and their works are selected and the implications of their work within the communities of their development. Field trips required. Lab fee $50. T. Gates. Spring.
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3.00 Credits
PQ: Any 10000-level ARTH or ARTV course, or consent of instructor. This course studies in detail the invention of the photographic system as a confluence of art practice and technology. The aesthetic history of photography is traced from 1839 through the present. Special emphasis is placed on the critical writing of P. H. Emerson, Erwin Panofsky, Alfred Stieglitz, Lewis Mumford, Susan Sontag, and Michael Fried. J. Snyder. Autumn.
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