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Course Criteria
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3.00 Credits
This is a writing workshop for the time-based arts. We will study the use of language in a variety of kinds of film, video, and performance-based artworks. We will study examples in avant garde film, video art, performance art, narrative cinema, and essay films. Students will generate monologues, voiceovers, screenplays and avant garde forms, and will also write several response papers about the use of language in film, video, and performance. The second half of the course will focus especially on narrative screenwriting.
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3.00 Credits
Video is an introduction to the moving image as a fine arts medium. The course will involve hands-on production as well as contemporary screenings and readings that demonstrate elements of the medium. The course will look specifically at performance, sound, exhibition context, documentary, high and low production values, appropriation, writing, and analysis. The course will introduce shooting and editing skills, including preproduction skills such as storyboarding and scripting, production skills such as directing, shot composition, lighting, and sound recording, and postproduction editing skills in a range of styles.
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3.00 Credits
This course will combine studio projects, reading assignments and writing exercises to explore the multiple connotations of color. By thinking about color as not merely an emotional or aesthetic signifier this course will extend the traditional study of color theory to include both philosophical and political inquiry. The aim of this course will be to better understand and control the use of color as a signifier in art, writing and performance while grappling with a wide range of theoretical and formal approaches to thinking and making. We will discuss Wittgenstein's "Remarks on Color" alongside Josef Albers' "Color Theory" to better understand how we see and how we categorize and understand what we see. To this end we will also read Oliver Sacks' "Island of the Colorblind" to better understand the neurology of color. Students will be required to hand in short annotations connected to assigned readings. We will then explore the specific uses of color by artists to explore issues of race and nationality: From "Black," as theorized by Glenn Ligon and David Hammons in "Blues and the Abstract Truth," to "Orange" as a nationalist color as explored by De Reijke and De Rooij and White as a signifier of neutrality, from the truce flag to Robert Ryman's paintings, to the violence of White Supremacists. Short studio projects will include collage exercises in color interaction, translating textual descriptions into color compositions and vice versa to expand how color can be understood. More sustained studio projects related to the interests of individual students will develop from in-class discussions and will be presented for critique at the end of the course.
Prerequisite:
Students interested in pursuing issues that intersect creative writing and the visual arts are most suited for this course
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3.00 Credits
In this course students will engage with a variety of fictional and theoretical writing as well as artistic and performative approaches in order to consider the potential that creative practices provide in imagining "places" that do not yet exist, or that may remain foreclosed in the present but still accessible to our mind. Readings will include Foucault's "Of Other Spaces", Borges' "On the Exactitude of Science", Bachelard's "Poetics of Spac", Butler's "Bodies in Alliance" and Danielewsky's "House of Leaves." Students will also be introduced to the work of artists like Robert Smithson, Janet Cardiff and James Turrell. In addition to more speculative and poetic discussions and in light of the collapse of the housing market, foreclosures and the rise of the "occupy" movement this course will also investigate the politics of space. We will attempt to rethink architecture's traditional categories of private and public space as a result of spontaneous collaborative imaginings of space during a time of economic or political crisis. How do artists, writers, organic intellectuals and citizens reflect upon and imagine those "other spaces" that have been and can still be embodied in our present time. Weekly readings, writing assignments and in-class discussions as well as studio projects will introduce students to diverse creative and critical methodologies while fostering a safe environment wherein they may develop their personal practice, be it writing, visual art or performance. Projects will include repurposing familiar public spaces on campus for new uses, as well as activating both physical and virtual (web and video) spaces to spark group participation.
Prerequisite:
Preference is given to students with one or two previous courses in the creative arts; students interested in pursuing issues that intersect creative writing and the visual arts are most suited for this course
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3.00 Credits
The objectives of this intensive seminar for studio majors are to strengthen both creative and technical skills (through weekly studio projects) and analytical and critical abilities. Students are also assigned readings and film/video viewings and required to visit local museum exhibits as part of the assignments.
Prerequisite:
Three studio courses required for the major, including at least two which are 200 level or higher
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3.00 Credits
A continuation and expansion of ideas and skills learned in Architectural Design I. There will be four to six design projects requiring drawings and models, each of which will emphasize particular aspects of architectural theory and design. Visiting critics will discuss student work. The course is useful for students thinking of applying to graduate school in architecture.
Prerequisite:
ArtS 220; ArtH 262 highly recommended
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3.00 Credits
In this tutorial, we will examine the use of narrative in a range of fine art practices, which could include painting, drawing, video, sculpture, installation, public art, and sound art. Students who are interested in telling or referencing stories in their work in some way will be given the opportunity to develop their ideas and skills in a challenging studio class. In addition to intensive projects, we will look at and discuss the work of artists such as Huma Bhabha, Kara Walker, Joe Sacco, Lydia Davis, Matthew Barney, Raymond Pettibon, Todd Solondz, Sophie Calle, Jenny Holzer, and Jessica Stockholder among others. One of the aims of this course is to challenge traditional notions and expectations of narrative. For instance, what could minimally constitute a narrative piece? How do different mediums allow for time to unfold in unexpected ways? How does omission play a powerful role in a narrative? How might the role of the narrator (often so powerful and present in novels and short stories) change in a visual arts context?
Prerequisite:
Students are required to have taken at least two Studio Art 200-level classes in any medium (or by permission of the instructor)
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3.00 Credits
[Rubbed out, scraped away, excised, effaced, or deleted] The means by which we commonly make a modification in a text, image or calculation is to remove and replace the edited particular with its substitute. In this editing--through addition, subtraction or both--we engage a renovation that involves a host of intellectual and experiential strategies. These [erasures] create [spaces]. Left blank, the erased article suggests there is no known replacement. If the article is not totally scraped away, the visible remaining under-layer serves as memento of the preceding action (palimpsest). Layers accreted upon one another may bury selected particulars in an archeologic strata. If vigorously removed, the heightened evidence of the erasing action becomes a testament to the significance of the desire to make the subject disappear. Hence, when we examine the emotive range of erasure, we witness the fuller psychological and intellectual dimensional potential of the edit.The scale of erasure stretches this dimension further. A simple edit may reveal a better choice and change the criticality of the outcome minutely or dramatically. Genocide as erasure, however, moves us to quite another plane. History and our interpretation of those events are variously defined by what has been inscribed and what has been de-scribed (Derrida). This tutorial--through studio practice, reading/viewing and critical analysis--will wander through a variety of conditions of erasure and how each might inform individual and collective projects. Weekly responses to a series of seven studio prompts will be wrought in either two-dimensional (digital photography, drawing, collage, painting) or three-dimensional media (sculpture, installation, performance).To assist in stretching the directions of each prompt, students will study: Visual work of, (including but not limited to): Marcel Duchamp, Arakawa and Madeline Gins, Julie Mehrutu, Ghada Amer, Joseph Kosuth, Cy Twombly, Gabriel de la Mora, Cindy Sherman, Robert Rauschenberg, Jasper Johns. Texts by, (including but not limited to): Franz Kafka, Ralph Ellison, Susan Stewart, Percival Everett, Akira Mizuta Lippit, de Sade. Films by, (including but not limited to): Kiyoshi Kurosawa (Cure), Hiroshi Teshigahara (Woman in the Dunes), Shohei Imamura, (Black Rain)
Prerequisite:
At least two ArtS 200-level studio classes in any medium, one of which should be the medium chosen for this tutorial; two-dimensional (digital photography, drawing, collage, painting) or three-dimensional media (sculpture, installation, performance)
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3.00 Credits
This course will investigate the processes and ideas used in combining reproduced images with acrylic painting in a synthesis of the multiple and the one of a kind, the mechanized image and the more direct application of paint. The multiple is often viewed as more "mediated" than an original, unique object -- while painting is often romanticized as a more intuitive eye to hand process. Students will explore how one can reconcile these two approaches as contemporary artists in a time when the mass-produced multiple is so present in our visual culture. Reproduced images may include prints (etchings, lithographs, relief prints, etc), photographs, or copies that will be collaged, assembled and redefined through the addition of painting. While the subject matter will be open, there will be general thematic assignments during the first half of the semester. As a tutorial, this course is designed to meet individual needs, stress student participation and responsibility for learning, and to examine differing points of view. Students will meet in groups of two or three for critiques of individual projects in the tutorial format: i.e., students are expected to give a half hour presentation weekly regarding their projects and selected readings, and to respond to criticism and questions by the peer student and the instructor. Students will also meet once a week as a group for demonstrations, slide presentations, and on-campus field trips.
Prerequisite:
ArtS 100 plus any one of the following: ArtS 241, 243, 254, 257, 263, 264, or 266
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3.00 Credits
The purpose of the Senior Seminar is to strengthen ideas, develop formal skills and practice critical analysis while creating original art. Students may work in any medium in which they have prior experience. At the beginning of the class, each student defines his/her project and completes the necessary research. The following weeks are spent producing new work in preparation for an exhibition at the Williams College Museum of Art. The class will meet in large and small groups throughout the semester for critique and discussion. This course is for students who have the ideas and discipline to work independently; participants are expected to be highly motivated and to be exceptionally engaged in the class discourse. Students are responsible for buying their own materials. Evaluation is based on the following: consistency of effort, the quality of analysis in critique, the quality of the portfolio at midterm and the quality of the final portfolio.
Prerequisite:
Studio Art major; permission of the instructor is required for History and Practice majors
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