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Meadows School of the Arts
Professor James Sullivan, Division Chair
Professors: Barnaby Fitzgerald, Bill Komodore, Lawrence Scholder; Associate Professors: Peter Beasecker, Debora Hunter, Arthur Koch, Philip Van Keuren (Director, Pollock Gallery), Mary Vernon; Assistant Professor: Karen Kittelson; Senior Lecturer: Charles DeBus.
The Division of Art offers a professional education leading to the B.F.A. and M.F.A. degrees, within a traditional liberal arts environment. We place knowledge, awareness, and performance at the center of this education. We believe this commitment to producing liberally educated, well-rounded graduates to be at the heart of the mission of the Meadows School. In working with students, we seek to develop analytical abilities and a critical consciousness of the nature and power of images. We believe in a rich mixture of tradition and innovation.
It is our belief that this mixture will help students to produce significant works of art which speak to the issues of our time. At the core of the mixture is substantial studio instruction in the fundamental areas of the making of art, supported by critical and historical studies. Drawing serves as the basic visual language binding the various disciplines. By encouraging technical and imaginative abilities that are both unmechanical and enthusiastic, we hope to engender an artistic and intellectual exibility that will serve a range of professional goals in the visual arts. We believe such flexibility of thought to be essential for artists to meet the challenges of our rapidly changing visual and cultural life.
When our students graduate, we intend that they will be prepared to continue as professional artists, to be capable of visually testing differences, questioning distinctions, and presenting conclusions. Their work should reect an individual voice. In the spirit of their liberal education, they should continue earnestly and sincerely to question, appreciate, and respect the creative endeavors of all people. http://meadows.smu.edu/art
The tree-lined SMU campus offers a comfortable setting for learning. Unlike many universities in major cities, SMU guarantees your housing for all four years of undergraduate study and also provides graduate accommodations. Facilities for the study of art include well-lighted studios and excellent equipment that supports all media areas. Art students work broadly and as experimentally as they wish within an environment of open artistic exchange, surrounded by artists in dance, music, theatre, lm and communications. Additional facilities include the Pollock Gallerythe art exhibition space of the Division of Artlocated in the Hughes-Trigg Student Center. Exhibitions organized by the Pollock Gallery provide students, faculty, staff, and the surrounding community with opportunities to experience a wide and thought-provoking array of exhibitions representing diverse artists, time periods, and cultures, as well as the B.F.A. and M.F.A. qualifying exhibitions.
The division runs an extensive visiting artist program, ranging from visiting artist lectures and workshops to the Meadows Distinguished Visiting Professor, which brings an internationally significant artist to campus for monthly visits during one semester of the year to teach and conduct graduate critiques.
The division also runs two special programs of importance to undergraduate students: the New York Colloquium (a winter interterm program in New York) and a summer program at SMU's campus near Taos, New Mexico. During the New York Colloquium, students visit a range of museum, galleries, artist's studios and other venues appropriate to the development of their critical and professional studies in art. The program at Fort Burgwin, Taos, offers several approaches to independent and directed study each summer, including plein-air painting, an interdisciplinary studio workshop, sculpture, photography, and printmaking.
The Dallas-Fort Worth area comprises a large artistic community with rich and varied resources. These include ve internationally significant museums (The Dallas Museum of Art and SMU's newly designed Meadows Museum, and the Kimbell Museum, Modern Art, and Amon Carter in Fort Worth), a number of contemporary exhibition spaces (The MAC, Arlington Museum, and 5501 Columbia), and a strong commercial gallery system. In spring 2003, the Nasher Sculpture Center will open, exhibiting works from the most significant private collection of sculpture in the world. The Division of Art also directs the Pollock Gallery, an exhibition space offering a comprehensive program of contemporary and historical exhibitions and related programs supporting the teaching of the faculty, as well as B.F.A. and M.F.A. qualifying exhibitions. All majors are expected to spend three hours per week on private work in the studios for every hour of credit received in a course.
Admission to the study of art on the undergraduate level is open to all SMU students. No portfolio is required for admission; however, talented students wishing to pursue the B.F.A. are encouraged to submit work for review and all students seeking artistic scholarships as they enter the University must submit a portfolio. A portfolio checklist is available through the Division of Art office to guide the student in preparing the portfolio of slides. In addition each fall the Division of Art hosts a portfolio day for prospective students when faculty critiques and discusses student work. Financial aid for continuing students is based upon accomplishment and progress as judged in portfolio reviews each year, as well as upon a clear understanding of need. The deadline for portfolios to be reviewed for scholarship is March 1st of every year for scholarships beginning in the fall term.
The Division of Art offers one undergraduate degree, the Bachelor of Fine Arts. This degree prepares students to become professional artists and to continue studies at the graduate level. The division offers instruction in a wide spectrum of media and skills Painting, Drawing, Sculpture, Printmaking, Photography, and Ceramics. First-year students intending to major in art should take Foundations: Drawing and Design in the Fall and Spring terms as the beginning of their B.F.A. studies. To earn a B.F.A. (125 hours), the student is required to take a minimum of 66 hours in the Division of Art and 9-12 hours in the Division of Art History. All majors in art are strongly encouraged to enroll in May Term or Summer Term study of art in Fort Burgwin, New Mexico, in the May or summer after declaring the major.
When the total number of hours required to satisfy the General Education requirements and the major requirements along with the major's supporting course requirements exceeds 122 term hours, students in such majors will be exempt from three (3) hours of Perspectives and an additional three (3) hours taken from either Perspectives or Cultural Formations. Students pursuing the B.F.A. qualify for this exemption.
Credit Hours:
General Education Curriculum (GEC) 35
The B.F.A. Curriculum is divided into seven stages or areas:
1. Foundations: Drawing/Design (for art majors only): 12
Six hours each term, team-taught.
Will meet two days for periods of five hours each (10 classroom hours per week).
2. Departmental Distribution 12
One course in four of the following areas; usually taken at the 2300 level:
Ceramics
Photography (1300 level)
Drawing (Foundations: Drawing/Design cannot fulfill this requirement)
Printmaking
Painting
Sculpture
Courses in major concentration (see below) cannot be counted to fulll this requirement.
3. Major Concentration: 24
Each student must take:
a. Eighteen hours in a single area of specialization (ceramics, drawing, painting, photography, printmaking, or sculpture).
b. Six hours in a related area.1 (Courses at Fort Burgwin will be counted in the concentration at the discretion of the adviser.)
4. Critical issues: 3
To be taken in the junior year. This may be a course titled "Critical Issues" and taught in the Division of Art. In some cases, the Division of Art may designate a single course from another department (for example, Philosophy) as a critical-issues course.
5. Senior Seminar and/or Thesis: 3
6. Art History and New York Colloquium (the latter an option, not a requirement): 12
Six hours must be art history survey.
Three hours must be in 20th-century art history.
Three hours may be in any art history (or in New York Colloquium).
7. Electives in art: 12
Meadows Elective/Corequirement: 3
Electives: 12
B.F.A. Qualifying Exhibition: 0
Total Hours: 125
1Any of the six areas may be deemed "related" to any other, but the student must show a clear understanding of the way they are related for his or her work.
The minor in art is planned to give a coherent structure to a brief but serious investigation of the visual arts. Through a series of courses that become increasingly more challenging as the student progresses, the student should grow to understand the formation of visual imagery.
Requirement: 18 term hours, distributed as follows:
Credit Hours
1. Foundation requirement: 6
ASDR 1300
ASSC 1300, or ASCE 1312 or 1313
2. Introductory Art (any three of the following at the 1300 or 2300 level, leading toward work at the 3300 level in at least one discipline): 9
ASCE 2312 or 2313 Ceramics
ASPT 1300 or 2300 Introduction to Painting I or II
ASDR 2300 Drawing II
ASPH 1300 Basics of Photography
ASSC Introduction to Sculpture II
ASPR 2320 or 2321 Printmaking, Intaglio, or Woodcut
3. One additional course at the 3300 level: 3
Students completing 18 hours in photographic study can expect to obtain a sophisticated understanding of the photographically derived image and the technical and creative skills necessary for its production. Classes offered by the Photography Program, which is part of the Division of Art, integrate the technical aspects of the medium with the aesthetic concerns traditional to the ne arts. Through the use of photography, students learn to think and express themselves visually. A minor in photography prepares one for further work in ne arts or commercial photography and other areas where a knowledge of photography is helpful. Beyond vocational applications, a minor in photography creates a rm foundation for future creative development.
Requirement: 18 term hours, distributed as follows:
Credit Hours
ASPH 1300 Basics of Photography 3
ASPH 2300 Black and White Photography 3
ARHS 3387 History of Photography 3
TOTAL: 9
Three additional courses at the 3000 level or higher, at three hours each.
In enrolling for courses in art, it is necessary that the course number be preceded by the appropriate subject code prefix in order for credit to be properly recorded.
Students should expect out-of-class work of 4-6 hours per week, per class in addition to in-class studio exercises.
Foundations: Drawing and Design. A year-long foundations course for art majors or for those students seeking an intensive study of the visual arts, which explores contemporary assumptions and practice regarding the making of art while significantly addressing its tradition. The foundations curriculum consists of a two-term sequence of courses, which are designed to give the student intensive training in studio practice, exposure to a range of materials and methods, and an introduction to the theoretical issues of contemporary studio art. Students develop technical knowledge, adding to it discipline and the development of the intellectual, theorizing, and risk-taking aspects of art that must grow at an equal pace with studio practice in order to sustain their lives as artists. (Note: this is a two-term sequence. Students must enroll for fall term rst (ASAG 1300, 1304), followed by ASAG 1601 (Spring term). Ten class hours per week. Prerequisite: Art major or pre-major, or departmental permission. Each term is team-taught.
Fall
ASAG 1300 Foundations I, Introduction to Studio Practice
ASAG 1304 Foundations II, Introduction to Materials
Note: Must be taken concurrently, no exceptions
Spring
ASAG 1601 Foundations III
ASAG 1300. Foundations I: Introduction to Studio Practice. For students seeking an intensive study of the visual arts, this focuses on the development of ideas within the studio, primarily through drawing, but also through developments in a range of media. Students will take ideas through a sequence of specic assignments and projects, examine it in multiple ways to articulate its connections and visual and imaginative possibilities, as well as question the assumptions under which artists work. By moving from drawing to sculpture to design in two or three dimensions, and exploring diverse media, the students and faculty stretch their conceptions of art's way of working. Note: Must be taken concurrently with ASAG 1304.
ASAG 1304. Foundations II: Introduction to Materials. This class is an integral part of the rst semester foundations course for art majors or for those students seeking an intensive study of the visual arts. Topics in theory and design in two and three dimensions. Prerequisite: Must be taken concurrently with ASAG 1300.
ASAG 1601. Foundations III: (Spring term). The continuation of Foundations I and II, with more intensive investigation of the specic media and ideas in studio art, usually through investigations of 2-3 areas of practice under individual faculty members. Topics will vary semester to semester. Ten class hours/week. Prerequisite: ASAG 1300 and 1304.
3310, 4310, 5310. Studio Workshop. An intensive investigation in arts by students engaged in independent work, group collaboration, and analytical study. Prerequisite: Advanced standing.
3340, 4340. Gallery Practicum. A hands-on course in gallery techniques: installation, lighting, publications, gallery management, protection and transportation of works of art, working with curators, planning, design, and analysis of the aesthetics of exhibitions. Taught in a professional gallery setting, the course requires an extensive commitment of time. Prerequisite: Junior standing and above.
3350, 5350. Art Colloquium New York. Involves intensive analysis, discussion, and writing concerning works of art in museum collections and exhibitions, and in alternative exhibition spaces. The class topics studied will deal with the philosophical as well as the practical in order to dene and understand the nature of the art our society produces and values. The colloquium meets in New York City for a period of two weeks in January.
3380, 3381. Critical Issues. (Spring term only.) A seminar for art majors in their third or fourth year of studies, this course will investigate topics in current critical theory in the arts as well as the historical context for their development. Readings will be taken from modern philosophy and literary criticism as well as art theory and criticism.
4300, 4301. Senior Seminar in Art. (Fall term only.) For senior art majors. Discussion and exploration of issues facing artists today, including theoretical discussion as well as topics relevant to professional life in the visual arts.
5001. B.F.A. Qualifying Exhibition. Participation in the qualifying exhibition is required for all candidates for the degree of B.F.A. in Art.
5100, 5200, 5300. Internship in Studio Art. Students work in internship positions that relate to their individual studio studies, including internships in teaching, in galleries, as assistants to established artists, or with businesses in the arts. Students should sign up for one, two, or three credit hours for internships of ve, 10, or 15 hours/week respectively, under the supervision of individual faculty who will supervise and evaluate the internship.
1312, 2312. Ceramic Sculpture. A comprehensive introduction to and exploration of the expressive characteristics of clay through the investigation of various handbuilding techniques; traditional as well as contemporary approaches to the material will be explored. Studio work will involve kiln operation, clay and glaze formulation, and other processes associated with low-fire ceramics. Emphasis on the analysis of sculptural form, control of the material, and critical judgment.
1313, 2313. Ceramics: The Vessel. Further exploration of the potter's wheel as a tool to explore the expressive potential of the utilitarian and non-utilitarian vessel. Historical and contemporary approaches to the vessel will be examined. Emphasis on the analysis of the vessel, concentrated practice in control of the material, and critical judgment.
2306. Ceramics in Taos. An intensive study of ceramics in the physical and cultural environment of the Fort Burgwin Research Center. Particular emphasis on primitive and indigenous methods of clay preparation, forming, surface considerations, and kiln design.
3312. Ceramic Sculpture. Further exploration of the expressive characteristics of clay through the investigation of various handbuilding techniques; traditional as well as contemporary approaches to the material will be explored. Emphasis on the analysis of sculptural form, control of the material, and critical judgment. Prerequisite: ASCE 2313 or permission of instructor.
3313. Ceramics: The Vessel. Further exploration of the potter's wheel as a tool to explore the expressive potential of the utilitarian and non-utilitarian vessel. Historical and contemporary approaches to the vessel will be examined. Studio work will involve kiln operation, clay and glaze formulation, and other processes associated with high-re ceramics. Emphasis on the analysis of the vessel, concentrated practice in control of the material, and critical judgment. Prerequisite: ASCE 2312 or permission of instructor.
4306. Ceramics in Taos. Intermediate problems in ceramics in the physical and cultural environment of the Fort Burgwin Research Center.
4312, 4313. Ceramics Intermediate. More involved investigation of handbuilding/wheel- thrown processes with emphasis on researching form and surface relationships. Studio work involves developing claybodies, surfaces (glazes and clay), further study of kiln operation and design. Prerequisites: ASCE 2312 or 2313, and 3312 or 3313; or permission of instructor.
5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Ceramics.
5306. Ceramics in Taos. Advanced problems in ceramics in the physical and cultural environment of the Fort Burgwin Research Center.
5310. Special Topics in Ceramics. To be announced by the Division of Art. Prerequisites: ASCE 2312 or 2313, and 3312 or 3313; or permission of instructor.
5312, 5313, 5314, 5315. Ceramics Advanced. Advanced problems in sculptural and wheel thrown forms. Emphasis on developing a personal point of view regarding material, process, and idea. Prerequisites: ASCE 4312, 4313 or permission of instructor.
Design (ASDS)
1300. Introduction to Studio Design I. Lectures and studio exercises familiarize the novice with the functions of visual elements, methods of idea-generation, the selection and organization of elements into two-dimensional compositions.
2302, 2391, 2392. Collage and Assemblage. Beginning level. A course combining lecture and studio work, studying the inuence of culture on perception, using the media of collage and assemblage, which are inexpensive and require no professional skills or techniques, and leave the student free to concentrate on understanding.
3302. Collage and Assemblage. Intermediate level. Prerequisite: ASDS 2302 or permission of instructor.
3310, 4310, 5310. Design Studio Workshop. An intensive investigation by art students engaged in independent work, group collaboration, and analytical study. Depending on topic and work completed, may be applied to different media concentrations. Prerequisite: Permission of instructor.
4302. Collage and Assemblage. Advanced level. Prerequisite: ASDS 3302 or permission of instructor.
5300. Design and the Visual Image. A reexamination of fundamental design assumptions and principles. Intended for advanced art majors and prospective design instructors, the course combines studio work in picture construction with reading in the classic literature of design and visual perception. Prerequisite: Advanced standing.
5301. Color and the Visual Image. The color systems of Munsell and other pioneers are re-examined in the light of modern psychophysics. Studio practice will focus on studies of Paul Klee and Josef Albers, with added exploration into the modes of appearance of color. Prerequisite: Advanced standing.
5302. Directed Studies in Design.
1300. Introduction to Studio Drawing. Drawing from life and from objects, supplemented by outside assignments. Emphasis on perspective, materials, analysis of form, and critical judgment.
1303. Perspective. An intensive study and analysis of spatial illusion.
1310. Drawing in Italy. This course will introduce students to plein-air drawing of the ruins, monuments, and landscape of Rome.
2300. Introduction to Studio Drawing II. For students who have completed Foundations or Beginning Drawing. Studies materials and processes of drawing and qualities of vision. Extensive studio and outside work required. Prerequisite: ASDR 1300 or ASAG 1600 (Foundations), or permission of instructor.
2140, 2340. Scientific Field Illustration is intended primarily for scientists, as a supplemental lab; students are to be concurrently registered in an appropriate science course, such as a eld biology or archaeology. Basic drawing skills, such as the use of line, proportion, light and shade, and the rendering of volume, will be taught. An introduction to watercolor and its usefulness in the eld will also be covered. Prerequisite: 2140: concurrent enrollment with eld science course, 2340 ASDR 1300 or equivalent
3300, 3301. Drawing, Intermediate Level. Intermediate-level drawing class designed to increase the student's command of technique and to further develop vision and individual approaches to drawing. Prerequisite: ASDR 2300.
4300, 4301. Drawing. Advanced drawing with emphasis on independent development. Prerequisite: ASDR 3300, 3301 or permission of instructor.
5300, 5301. Drawing, Advanced. Prerequisites: ASDR 4300, 4301.
5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Drawing.
1300. Introduction to Studio Painting. A rst course in painting from life, objects, and landscape, supplemented by outside assignments. Emphasis is on materials, color relationships, and critical judgment.
2300. Introduction to Studio Painting II. For students completing Foundations or painting and drawing at the 1300 level, includes instruction in the use of materials and approaches to representation, with special emphasis on color and composition. Prerequisite: ASDR 1300, ASPT 1300, or ASAG 1300/1304 (Foundations).
2306. Painting in Taos. A study of painting in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPT 1300, ASDR 1300, or permission of instructor.
3300, 3301. Painting. Intermediate level course designed to increase the student's command of technique and to develop vision and sense of style. Prerequisite: ASPT 2300.
3306. Painting in Taos. An intermediate study of painting in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPT 2300 or 2306, or permission of instructor.
3309. Painting in Rome. A study of painting in the physical and cultural environment of Rome and the Italian peninsula. Prerequisite: ASPT 2300 or permission of instructor.
4300, 4301. Painting. Continuation of ASPT 3300, 3301 with emphasis on individual development. Prerequisites: All previous courses in painting.
4306. Painting in Taos. An advanced study of painting in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPT 3300, 3301, 3306, or permission of instructor.
5300, 5301. Painting. Advanced problems for the senior student. Prerequisite: All previous courses in painting.
5100, 5101, 5200, 5201, 5302, 5303, 5304. Directed Studies in Painting.
5107, 5207, 5307, 5308. Studio Workshop in Taos. Advanced problems in painting involving independent work, group collaboration, and analytical study in the physical and cultural environment of the Fort Burgwin Research Center.
5305. Studio Workshop: Color and Meaning. An advanced painting workshop for students who have completed ASPT 1300 and 2300, and who are ready to work on problems with some independence. Theoretical works on color will be discussed and employed, but the central concern of our work will be the development of color relationships within each student's work.
5306. Painting in Taos. An advanced study of painting in the physical and cultural environment of the Fort Burgwin Research Center.
1300. Basics of Photography. Thorough discussion of equipment and operation of 35mm photography. Elements of visual design (such as space, composition, color, and light) explored through the medium of photography. Emphasis placed upon the creative use of aperture, shutter speed, framing techniques, and exposure selection. No darkroom. Written examination and 35mm slide assignments.
1306. Photography in Taos. A study of photography in the physical and cultural environment of the Fort Burgwin Research Center.
2300. Black-and-White Photography. Exploration of the creative possibilities of photographic materials in the darkroom. Special attention given to black and white lm development, and negative enlarging as well as a variety of manipulative techniques. Prerequisite: ASPH 1300 or permission of instructor.
2306. Photography in Taos. A study of photography in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisite: ASPH 1300 or 1306, or permission of instructor.
3300. Black-and-White Photography II. Continuation of Black-and-White Photography I, with emphasis on the zone system, lm manipulations, and printing and matting techniques. Includes possibility of working in medium to large formats. Prerequisite: ASPH 2300.
3302, 4303. Color Photography I and II. Exploration of the aesthetic issues and technical concerns of color photography. Color print processing from negatives and transparencies, presentation and conservation techniques, and review of the history of color photography. Prerequisite: ASPH 1300 or permission of instructor.
3306. Photography in Taos. An intermediate study of photography in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisite: ASPH 2300 or 2306, or permission of instructor.
3310. Large-Format Photography. Students will be provided with a 4" x 5" view camera, light meter and tripod and introduce the special capacities of large format black-and-white photography. Film exposure and development based upon the theory and practice of the zone system. Further renement of printmaking techniques, including contrast control through the use of bilters, toning for archival quality, and the creation of an edition of silver gelatin prints. Prerequisites: ASPH 1300 and 2300 or permission of instructor.
4300, 4301, 5300, 5301. Special Topics in Photography. Alternative processes, computer-based photography, and other topics to be announced. Prerequisites: ASPH 1300, and 2300 or 3302, or permission of instructor.
4306, 5306. Photography in Taos. An advanced study of photography in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPH 3300, 3301, 3306, or permission of instructor.
5100, 5101, 5200, 5201, 5302, 5303, 5304. Directed Studies in Photography.
2300. Printmaking. Introduction to the fundamentals of intaglio printing as a vehicle for self-expression. Students will explore a variety of techniques and the expressive qualities inherent in each. Prerequisite: ASDR 1300 or Foundations.
2320. Printmaking Beginning. Introduction to the process of intaglio printing, etching, engraving, dry point, and aquatint. Prerequisite: ASDS 1300 or Foundations.
2321. Printmaking Beginning Woodcut. Introduction to the process of relief printing. Prerequisite: ASDR 1300 or Foundations.
3300, 4300, 5300. Printmaking Workshop. Further exploration of the possibilities of intaglio printing at the intermediate and advanced level. The ambience of the workshop, with no rigid structure, encourages the freedom to experiment in all directions (emotionally and intellectually, as well as technically) and to seek inspiration from any source whatsoever. The self-discipline necessary for coherent results, and mastery of the craft of printing, are the goals of the workshop. Prerequisite: ASPR 2300 or permission of instructor.
4300, 4301, 5300, 5301. Printmaking Workshop. Prerequisite: Permission of instructor.
5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Printmaking. Prerequisite: Permission of instructor.
5301. Printmaking. Advanced printmaking.
1300. Introduction to Studio Sculpture I. An introduction to working in three dimensions in a variety of media, including clay, wood, and metal. Historical as well as contemporary approaches to sculpture will be examined to achieve an understanding of how to manipulate form, space, and expressive content in three dimensions.
2300. Introduction to Studio Sculpture II. Intended for students who have some prior experience in sculpture or Foundations, this is an intensive introduction to the language of sculpture in a number of media. Emphasis is on sustained investigation using a number of perspectives, and on gaining condence with and understanding of the tools, materials, and concepts of sculpture. Critical discussion, analysis of contemporary and historical work and concentrated studio practice will be emphasized. Prerequisite: ASSC 1300, ASAG 1600 (Foundations), or ASDS 1301.
3300, 3301. Sculpture Intermediate. Intermediate problems in sculpture, including analysis of form, theory, and technical processes. Prerequisite: ASSC 2300.
3310, 4310, 5310. Material and Form. An intensive investigation of material processes (specically construction, metal casting, and subtractive techniques) and the ramications of material choice and method in the formal and stylistic development of sculptural work. Both the traditional development and contemporary practice of each process will be explored. This is an intensive class, with a requirement of six hours studio work outside scheduled meeting times. Prerequisite: ASSC 2300.
3320, 4320, 5320. Body and Object. The body has been the preeminent subject in the history of sculpture, represented in all traditions as a focus of belief and identity. Recent sculpture has seen a resurgence of interest in work both of and about the body, asserting its centrality while at the same time attacking many of the social and psychological assumptions attendant to its history. This course will take a dual approach to the sculptural study of the body and gure: in class, work will focus on careful observation and direct study of the model, working up to life-sized study in clay and plaster. Out of class, students will consider, through independent projects, the question of the body as a metaphoric subject, creating work "about" the gure without literal reference to it. The aim is to try to address the body both through its objective structure and its social and psychological meanings, and to discover how these issues are conveyed through sculpture. This is an intensive class, with a requirement of six hours studio work outside scheduled meeting times. Prerequisites: ASSC 2300.
3340, 4340, 5340. Shelter and Place. An intensive investigation into architectural forms and natural environments in order to question what it is to dwell, how we achieve a sense of place, and how natural forms and events can inuence and be inuenced by structures. Collaborative work, drawing, analytical study of sites and environments, and construction. Paradigm examples are drawn from historical and contemporary building and sculpture. This is an intensive class, with a requirement of six hours studio work outside scheduled meeting times. Prerequisite: ASSC 2300.
4300, 4301, 5300, 5301. Sculpture Advanced. Advanced problems in sculpture, including analysis of form, theory, and technical processes. Prerequisite: Advanced standing.
5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Sculpture. Advanced independent study.
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