The "M" Award is the most highly coveted recognition given to students, faculty, staff, and administrators for service.

Meadows School of the Arts

MEADOWS SCHOOL OF THE ARTS
ART

Professor James Sullivan, Division Chair

Professors: Barnaby Fitzgerald, Bill Komodore, Laurence Scholder; Associate Professors: Peter Beasecker, Debora Hunter, Philip Van Keuren (Director, Pollock Gallery), Mary Vernon; Assistant Professors: Vanessa Paschakarnis, Noah Simblist; Senior Lecturer: Charles DeBus.

The Division of Art offers professional education leading to the B.F.A. and M.F.A. degrees within a traditional liberal arts environment. Knowledge, awareness, and performance are at the center of this education. The commitment to producing liberally educated, well-rounded graduates with a strong professional focus is at the heart of the mission of the Meadows School. Believing in a rich mixture of tradition and innovation, the Art Division seeks to develop in students analytical abilities and a critical consciousness of the nature and power of images.

This mixture will help students to produce significant works of art that speak to the contemporary issues. 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, the Art Division hopes to engender an artistic and intellectual flexibility that will serve a range of professional goals in the visual arts. Such flexibility of thought is essential for artists to meet the challenges of the rapidly changing visual and cultural life.

When students graduate, they will be prepared to continue as professional artists, to be capable of visually testing differences, questioning distinctions, and presenting conclusions. Their work should reflect 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. For more information, visit meadows.smu.edu/art

Instructional Facilities

The tree-lined SMU campus offers a beautiful setting for learning. Unlike many universities in major cities, SMU guarantees housing for all four years of undergraduate study and also provides graduate accommodations if desired. Facilities for the study of art include well-lighted studios, individual workspaces and excellent equipment to support all media taught, as well as individual experimentation. Art students work as broadly and as experimentally as they wish within an environment of open artistic exchange, surrounded by artists in dance, music, theatre, film, and communications. Additional facilities include the Pollock Gallery ­ the art exhibition space of the Division of Art located in Hughes-Trigg Student Center. The Pollock Gallery provides 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 Meadows School and SMU offer excellent library and technological resources, including the Hamon Arts Library (incorporating the Meadows computer center) as well as specific facilities within the Division of Art.

The division runs an extensive visiting artist program, ranging from visiting artist lectures and workshops to the Meadows Distinguished Visiting Professor, an internationally significant artist brought to campus for monthly visits during one semester of the year to teach and to conduct graduate critiques.

The division also runs two special programs of importance to graduate and undergraduate students: the New York Colloquium (a winter interterm program in New York) and SMU-in-Taos, a summer program at SMU's campus near Taos, New Mexico. During the New York Colloquium, students visit a range of museums, galleries, artists' studios and other venues appropriate to the development of their critical and professional studies in art. The program at Fort Burgwin, Taos, offers course work as well as independent and directed study each summer, including plein-air painting, an interdisciplinary studio workshop, sculpture, photography, and printmaking.

The Dallas-Fort Worth area contains a large artistic community with rich and varied resources. These include six internationally significant museums (The Dallas Museum of Art, SMU's newly designed Meadows Museum, and the Nasher Sculpture Center in Dallas, and the Kimbell Museum, Museum of Modern Art, and Amon Carter Museum in Fort Worth), contemporary exhibition spaces (The MAC, Arlington Museum), and a strong commercial gallery system.

Admission and Financial Aid

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 based on merit as they enter the University must submit a portfolio for faculty review. A portfolio guide is available through the Division of Art office to help 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 critique and discuss student work in an open review.

Financial aid for entering and 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 incoming portfolios to be reviewed for scholarship is March 1st of every year for scholarships beginning in the fall term.

Programs of Study

The B.F.A. Degree in Art

The Division of Art offers one undergraduate degree, the Bachelor of Fine Arts. This degree prepares students to become professional artists, engage in professions in the arts, or to continue studies at the graduate level. The division offers instruction in six broad areas of media and conceptual approach ­ painting, drawing, sculpture, printmaking, photography, and ceramics. Within this structure, the faculty encourages cross-disciplinary interaction, which the curriculum is designed to facilitate. 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.

Because the total number of hours required to satisfy the General Education requirements and the major requirements exceeds 122 term hours, students in the B.F.A. degree program of the Division of Art are exempt from three (3) hours of Perspectives and an additional three (3) hours taken from either Perspectives or Cultural Formations.

The B.F.A. Curriculum is divided into eight stages or areas:

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

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:

Drawing

Painting

Photography (1300 level)

Printmaking

Sculpture

Courses in major concentration (see below) cannot be counted to fulfill this requirement.

3. Major Concentration, including Junior Independent Tutorial:¹ 24

a. Eighteen hours in a single area of specialization (ceramics, drawing, painting, photography, printmaking, or sculpture). Three of these hours are the Junior Independent Tutorial, taken in the spring of the 3rd year. (Courses taken in Taos may be counted toward the major concentration or Junior Independent Tutorial.)

b. Six hours in a related area. Any 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.

4. Critical issues: 3

5. Senior Seminar: 3

6. Art History and New York Colloquium (the latter an option, not a requirement): 12

7. Electives in art: 12

8. B.F.A. Qualifying Exhibition (required) 0

9. Meadows Elective/Corequirement: 3

10. Electives: 9

Total Hours: 125

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Minor in Art

The minor in art is planned to give a coherent structure to a brief but serious investigation of studio art. 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 and gain confidence in studio practice. The minor is designed for students who wish to incorporate more intensive visual studio training with studies in other areas, such as art history or advertising, or for those who want a basic directed studio curriculum.

Requirement: 18 term hours, distributed as follows:

Credit Hours

1. Foundation requirement: 6

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

3. One additional course at the 3300 level: 3

Total Hours 18

Minor in Photography

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 fine arts. Through the use of photography, students learn to think and express themselves visually.

A minor in photography prepares one for further work in fine arts or commercial photography and other areas where knowledge of photography is helpful. Beyond vocational applications, a minor in photography creates a firm 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 foundation study: 9

Plus ­ Three additional courses at the 3000 level or higher: 9

TOTAL: 18 hours

The Courses

Studio courses generally require 6 hours per week of in-class exercises and critical discussion. Students should enroll with a firm commitment to regular attendance and should expect out-of-class work of 4-6 hours per week, per class, in addition to in-class studio exercises.

Departmental Codes and Course Fees

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.

All courses in studio art, except lectures and seminars, have a laboratory fee of $30 per term hour, which will be collected by the cashier at the time of enrollment.

Art, General Studio (ASAG)

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, 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 first (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

Spring

1300. Foundations I: Introduction to Studio Practice (Fall term only). For students seeking an intensive study of the visual arts, course focuses on the development of ideas within the studio, primarily through drawing, but also through parallel investigation of three-dimensional work and other media. Students will take an idea through a sequence of specific 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.

1304. Foundations II: Introduction to Materials. This class is an integral part of the first semester foundations course for art majors or for those students seeking an intensive study of the visual arts. Topics include theory and design in two and three dimensions. Prerequisite: Must be taken concurrently with ASAG 1300.

1601. Foundations III: (Spring term). The continuation of Foundations I and II, with more intensive investigation of the specific 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: 15 credit hours in art or permission of instructor.

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: 15 credit hours in art or permission of instructor.

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 define 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. Prerequisite: Permission of instructor.

3380, 3381. Critical Issues. (Spring term only.) A seminar for art majors in their second or third 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 five, 10, or 15 hours/week respectively, under the supervision of individual faculty who will supervise and evaluate the internship. Must be approved by departmental chair.

Ceramics (ASCE)

1312. Ceramic Sculpture. A comprehensive introduction to and exploration of the expressive characteristics of clay through the investigation of various hand-building 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. 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.

2312. Ceramic Sculpture. A comprehensive introduction to and exploration of the expressive characteristics of clay through the investigation of various hand-building 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. Prerequisite: Foundations or ASCE 1312 or 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. Prerequisite: Foundations or ASCE 1312 or 1313.

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. Prerequisite: Foundations, or ASCE 1312 or 1313.

3300, 3301. Ceramics. Intermediate level course designed to increase the student's command of technique and to develop vision and sense of style. Prerequisite: ASCE 2300.

3312. Ceramic Sculpture. Further exploration of the expressive characteristics of clay through the investigation of various hand-building 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 2312 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-fire ceramics. Emphasis on the analysis of the vessel, concentrated practice in control of the material, and critical judgment. Prerequisite: ASCE 2313 or permission of instructor.

4300, 4301. Ceramics. Continuation of ASCE 3300, 3301 with emphasis on individual development. Prerequisite: ASCE 3300 or 3301.

4306. Ceramics in Taos. Intermediate problems in ceramics in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisite: ASCE 3312 or 3313 or permission of instructor.

4312, 4313. Ceramics ­ Intermediate. More involved investigation of hand-building/wheel-thrown processes with emphasis on researching form and surface relationships. Studio work involves developing clay bodies, surfaces (glazes and clay), further study of kiln operation and design. Prerequisites: ASCE 2312 or 2313, and 3312 or 3313; or permission of instructor.

4315. Junior Independent Tutorial in Ceramics. Directed individual investigation leading to a sustained body of work within the student's concentration. Taken during the spring term and leading to the Junior Exhibitions. May not be repeated unless due to a failing grade. Prerequisite: Junior standing, with permission of instructor (tutor).

5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Ceramics.

5300, 5301. Ceramics. Advanced problems for the senior student. Prerequisite: ASCE 4300 or 4301, or permission of instructor.

5306. Ceramics in Taos. Advanced problems in ceramics in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisite: ASCE 4312 or 4313 or permission of instructor.

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 or 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. No prerequisite.

2302. Collage and Assemblage. Beginning level. A course combining lecture and studio work, studying the influence 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.

4302. Collage and Assemblage. Advanced level. Prerequisite: ASDS 3302 or permission of instructor.

3300, 4300, 5300. 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: 15 credit hours in art or permission of instructor.

3310, 4310, 5310. Digital Design Workshop. An intensive introduction to digital media, including two-dimensional imaging (Photoshop and related programs) and three-dimensional CAD imaging, designed to enable the integration of digital media into studio practice. Students are encouraged to engage in independent work, group collaboration, and analytical study. Depending on topic and work completed, study may be applied to different media concentrations. Prerequisite: 15 credit hours in art, 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: 24 credit hours in art or permission of instructor.

5301. Color and the Visual Image. Color systems of Munsell, Itten, Photoshop palettes, etc., studied in the light of contemporary neurobiology and the capabilities of media. Klee, Albers, Matisse, and other masters of color focus the course on color modes. Prerequisite: 24 credit hours in art or permission of instructor.

5302. Directed Studies in Design.

Drawing (ASDR)

1300. Introduction to Studio ­ Drawing. Drawing from life and from objects, as well as interior and landscape, and supplemented by outside assignments. Emphasis on perspective, materials, analysis of form, and critical judgment. No prerequisite.

1310. Drawing in Italy. This course will introduce students to plein-air drawing of the ruins, monuments, and landscape of Rome, with an emphasis on development of light, space, and compositional structure. No prerequisite.

2300. Introduction to Studio ­ Drawing II. For students who have completed Foundations or Beginning Drawing. Intensive study of the materials and processes of drawing and qualities of vision, using subjects from life as well as abstract composition. Extensive studio and outside work required. Prerequisite: ASDR 1300 or Foundations, or permission of instructor.

2140, 2340. Scientific Field Illustration. Intended primarily for scientists as a supplemental lab; students are to be concurrently registered in an appropriate science course, such as field 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 field will also be covered. Prerequisite: 2140, concurrent enrollment with field science course 2340, ASDR 1300, or equivalent.

3300, 3301. Drawing, Intermediate Level. Designed to increase the student's command of technique and to further develop vision and individual approaches to drawing. Prerequisite: ASDR 2300.

3303. Perspective. An intensive study and analysis of spatial illusion, systems of perspective, and the geometry of visualization. Prerequisite: Foundations or ASDR 2300.

4300, 4301. Drawing. Advanced drawing with emphasis on independent development. Prerequisite: ASDR 3300, 3301, or permission of instructor.

4315. Junior Independent Tutorial in Drawing. Directed individual investigation leading to a sustained body of work within the student's concentration. Taken during the spring term and leading to the Junior Exhibitions. May not be repeated unless due to a failing grade. Prerequisite: Junior standing, with permission of instructor (tutor).

5300, 5301. Drawing, Advanced. Prerequisites: ASDR 4300 or 4301 or permission of instructor.

5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Drawing.

Painting (ASPT)

1300. Introduction to Studio ­ Painting. A first course in painting from life, objects, and landscape, supplemented by outside assignments. Emphasis is on materials, color relationships, and critical judgment. No prerequisite.

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: ASPT 1300, or Foundations.

2306. Painting in Taos. A study of painting in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPT 1300 or 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.

3305. 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 will be the development of color relationships within each student's work. 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: ASPT 3300.

4306. Painting in Taos. An advanced study of painting in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPT 3300 or 3301 or 3306, or permission of instructor.

4315. Junior Independent Tutorial in Painting. Directed individual investigation leading to a sustained body of work within the student's concentration. Taken during the spring term and leading to the Junior Exhibitions. May not be repeated unless due to a failing grade. Prerequisite: Junior standing, with permission of instructor (tutor).

5300, 5301. Painting. Advanced problems for the senior student. Prerequisite: ASPT 4300 or 4301, or permission of instructor.

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. Prerequisite: ASPT 4300 or 4301, or permission of instructor.

5306. Painting in Taos. An advanced study of painting in the physical and cultural environment of the Fort Burgwin Research Center. Prerequisites: ASPH 4300 or 4301 or permission of instructor.

Photography (ASPH)

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. No prerequisite.

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 film 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, film manipulations, and printing and matting techniques. Includes possibility of working in medium to large formats. Prerequisite: ASPH 2300, or permission of instructor.

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. May be taken as a first darkroom course. Prerequisite: ASPH 1300 (for 3302) ASPH 3302 (for 4303), 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 introduced to 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 refinement of printmaking techniques, including contrast control through the use of bifilters, toning for archival quality, and the creation of an edition of silver gelatin prints. Prerequisites: ASPH 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 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, or 3306 (for 4306) ASPH 4300, 4301, or 4306 (for 5306), or permission of instructor.

4315, Junior Independent Tutorial in Photography. Directed individual investigation leading to a sustained body of work within the student's concentration. Taken during the spring term and leading to the Junior Exhibitions. May not be repeated unless due to a failing grade. Prerequisite: Junior standing, with permission of instructor (tutor).

5100, 5101, 5200, 5201, 5302, 5303, 5304. Directed Studies in Photography.

Printmaking (ASPR)

2320. Printmaking ­ Beginning. Introduction to the process of intaglio printing, etching, engraving, dry point, and aquatint. Prerequisite: ASDR 1300 or Foundations.

2321. Printmaking ­ Beginning Woodcut. Introduction to the process of relief printing. Prerequisite: ASDR 1300 or Foundations.

3300, 3301, 4300, 4301, 5300, 5301. 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 2320 (for 3300 or 3301), ASPR 3300 or 3301 (for 4300 or 4301), ASPR 4300 or 4301 (for 5300 or 5301), or permission of instructor.

5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Printmaking. Prerequisite: Permission of instructor.

5301. Printmaking. Advanced printmaking.

Sculpture (ASSC)

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. No prerequisite.

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 confidence 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, Foundations, or ASDS 1300.

3300, 3301. Sculpture ­ Intermediate. Intermediate problems in sculpture, including analysis of form, theory, and technical processes. Emphasis on development of individual investigation and conceptual understanding of sculptural issues. Prerequisite: ASSC 2300 or permission of instructor.

3310, 4310, 5310. Material and Form. An intensive investigation of material processes (specifically construction, metal casting, and subtractive techniques) and the ramifications 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 of studio work outside scheduled meeting times. Prerequisite: ASSC 2300 (for 3310), ASSC 3300 or 3301 (for 4310), or ASSC 4300 or 4301 (for 5310), or permission of instructor.

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 figure: 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 figure 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 of studio work outside scheduled meeting times. Prerequisites: ASSC 2300 (for 3320), ASSC 3300 or 3301 (for 4320), ASSC 4300 or 4301 (for 5320), or permission of instructor.

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 influence and be influenced 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 of studio work outside scheduled meeting times. Prerequisite: ASSC 2300 (for 3340), ASSC 3300 or 3301 (for 4340), ASSC 4300 or 4301 (for 5340), or permission of instructor.

4300, 4301, 5300, 5301. Sculpture ­ Advanced. Advanced problems in sculpture, including analysis of form, theory, and technical processes. Prerequisite: ASSC 3300 or 3301 (for 4300 or 4301), ASSC 4300 or 4301 (for 5300 or 5301), or permission of instructor.

4315. Junior Independent Tutorial in Sculpture. Directed individual investigation leading to a sustained body of work within the student's concentration. Taken during the spring term and leading to the Junior Exhibitions. May not be repeated unless due to a failing grade. Prerequisite: Junior standing, with permission of instructor (tutor).

5100, 5101, 5200, 5201, 5302, 5303. Directed Studies in Sculpture.