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Visual Culture + the Manufacture of Meaning

Course No. ACD 305  Credits: 3.0
Faculty David Hart | Gary D. Sampson | Rita Goodman

This course will introduce students to critical theories and methods of analysis for interpreting contemporary visual art and culture. Topics include: formalism and stylistic analysis; semiotics and structuralism; Marxist theory; biography; psychoanalytic theory; feminist analysis and gender studies; postcolonial theory; post structuralism and postmodernity; and media arts studies (electronic/digital technologies). Select interpretive frameworks employed in the "manufacture of meaning" will be situated historically and discussed fully and critically, using seminal writings. Required for Visual Culture Emphasis. Offered each fall.

Visual Organization + Media

Course No. IME 200  Credits: 3.0
Faculty Larry O'Neal | Mary Jo Toles

In this course students will develop better organization and composition, knowledge and appreciation for type, integration of type and grid, understanding hierarchy, and type as creative form. Students within IME take this course to help them consider sound design and layout principles in their own work, and organize information in combination with images created in their specific majors. This course is required for all students in Animation, Biomedical Art, Game Design, Illustration, Photography, T.I.M.E.-Digital Arts and Video majors and is open as an elective to students in any other major. Offered fall and spring.

Water+: An Exploration of Water-Based Media

Course No. PTG 240-340-440  Credits: 3.0
Faculty Lane Cooper
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

This course explores the different materials and processes used in various water-based media such as acrylic, gouache, watercolor, ink, and other natural substances that can be used to make colors/washes. Various historical models will be examined such as Chinese scroll painting and watercolor from the Song dynasty to Renaissance architecture and figure studies to post-impressionist use of color and mark which will put contemporary use of water-based media into focus. The work of artists as varied as William Blake, Vincent Van Gogh, Charles Burchfield, and Paul Klee to more recent artists such as Francesco Clemente, Marlene Dumas, Amy Cutler, Shazia Sikander, and Franz Ackermann, will be examined within the context of the student’s personal practice. This course is open to all students with the prerequisite of Intro to Painting or with the permission of the instructor.

Water+: An Exploration of Water-Based Media

Course No. PTG340.1  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

This course explores the different materials and processes used in various water-based media such as acrylic, gouache, watercolor, ink, and other natural substances that can be used to make colors/washes. Various historical models will be examined such as Chinese scroll painting and watercolor from the Song dynasty to Renaissance architecture and figure studies to post-impressionist use of color and mark which will put contemporary use of water-based media into focus. The work of artists as varied as William Blake, Vincent Van Gogh, Charles Burchfield, and Paul Klee to more recent artists such as Francesco Clemente, Marlene Dumas, Amy Cutler, Shazia Sikander, and Franz Ackermann, will be examined within the context of the studentÕs personal practice. This course is open to all students.

Water+: An Exploration of Water-Based Media

Course No. PTG440.1  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

This course explores the different materials and processes used in various water-based media such as acrylic, gouache, watercolor, ink, and other natural substances that can be used to make colors/washes. Various historical models will be examined such as Chinese scroll painting and watercolor from the Song dynasty to Renaissance architecture and figure studies to post-impressionist use of color and mark which will put contemporary use of water-based media into focus. The work of artists as varied as William Blake, Vincent Van Gogh, Charles Burchfield, and Paul Klee to more recent artists such as Francesco Clemente, Marlene Dumas, Amy Cutler, Shazia Sikander, and Franz Ackermann, will be examined within the context of the studentÕs personal practice. This course is open to all students.

Ways of Thought: Confucianism, Taoism, and Zen

Course No. HCS 367  Credits: 3.0
Faculty Allen Zimmerman

This course is an introduction to systems of belief and action in China and Japan. It begins with a critical cross-cultural comparison of Confucianism, Taoism and Ch'an Buddhism in China and Zen Buddhism in Japan, concluding with a comparison between two representative systems, one Eastern and one Western. The aim of this course is twofold: to explore traditional philosophical, religious and psychological perceptions that have influenced life (ideal and otherwise) in China and Japan, and to provide a basis for understanding selected Asian cultures and, through perspectives gained, to reflect upon our own.

Ways of Thought: Hinduism and Buddhism

Course No. HCS 366  Credits: 3.0
Faculty Allen Zimmerman

This two-semester course begins with an introduction to similarities and differences between Eastern and Western systems of belief and action. It proceeds with a critical cross-cultural comparison of Hinduism, Indian and Chinese schools of Buddhism, Taoism in China, and Zen Buddhism in Japan. It concludes with a comparison between two representative systems, one Eastern and one Western. The aim of this course is twofold: to explore traditional philosophical, religious, and psychological perceptions that have influenced life (ideal and otherwise) in India, China and Japan, and to provide a basis for understanding selected Asian cultures and, through perspectives gained, to reflect upon our own.

Weaving Patterns: Collective Activity

Course No. FIB275  Credits: 3.0
Faculty William Lorton

Students will learn to weave and explore the possibilities of the process on traditional floor looms (floor, tapestry, Computer-assisted Dobby) and alternative weaving devices (constructed from found objects or using architectural influences). Technical vocabulary and conceptual focus will be developed through an investigation of process, material, tools and the many and varied histories of weaving. The intersection between weaving and collaboration will be explored in discussions on the development of pattern/structure as a form of communication; looms built in situ; implication of globalization on craft production; traditional and contemporary practice of gifting; and social participation. Required sophomore FMS majors. Open elective.

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