You Know You Want it...

Art Topics and Other Courses of Interest....

Advising begins on Monday, 10/31.

Consider these fine courses,

among all the art offerings, this spring:

ART 170/FDN 112 The Grand Tour: Ancient Greece T/R 8-9:15 am & 9:30-10:45 am (two sections) Taught by Prof. Zakic

FDN 112/ART 170 The Grand Tour: Ancient Greece is designed to reinforce skill development from Foundations 111, but the work will be modestly interdisciplinary, engaging a variety of topics. The outline of the course follows the standardized itinerary that includes the ancient sites of Athens, Delos, Olympia, Delphi, Corinth, Epidaurus as well as other sites beyond the Aegean or Greece proper. These are major centers through which art, architecture, ancient travel, archeology, ethnography, geography, literature, myth and history came to define all that we came to understand as “classical antiquity.” While the primary lens to the material is through a traveler of Ancient Greece, the comparative analysis of its relationship to subsequent periods, Hellenized territories and affected powers, such as its Roman rule, will unavoidably be explored as well.

ART 330:A Performance and Installation 1:00-3:20 T/R Taught by Prof. Graham
(note course number ART 330:A )
This course is an investigation to the mediums of performance and installation. In this class we will explore various techniques, materials, ideas, and experiments centered on the body and its relationship to communication and the physical world. This will include but will not be limited to collaboration, conceptual brainstorming, manual labor (hands on making) and field research (getting out of the computer lab and studio). We will use projects and experiments designed to encourage the development of: an exploratory attitude, conceptual and technical ability, personal expression; and an understanding of the formal and visual language found in performance and installation. In all work, emphasis will be placed on finding imaginative solutions to the problems presented, on developing skills with a variety of processes and materials, on increasing your knowledge about the attributes of the body and craft. Don’t worry if you don’t know what you are doing that is all part of it. Prerequisite: none

ART 370: A Brand Identity 3:30-5:50 T/R Taught by Prof. Shields People fall in love with brands, trust them, and believe in their superiority. Students will learn to combine typography, color theory and layout to form a cohesive brand identity and apply that identity across multiple platforms. Brand identity process and best practices will be explored. Prerequisite: ART 234 or permission of the instructor. Software: Students may choose to use any combination of the following: InDesign, Illustrator, Dreamweaver or Photoshop.

ART 470: A The Art of Collecting 2:00-3:15 M/W Taught by Dr. Decker
The artist, the collector, the art, the dealer: four aspects of artistic exchange that might yield modest as well as magnificent results. This course examines these four criteria with the goal of understanding a history of collecting. While the primary focus remains art collections, and, in particular, private art collections, other assemblages are within our purview. Particular attention will be paid to the stunning body of works created by the New English Art Club, and other 19^th through 21^st-century works, in the collection of John Milward. Students enrolling in this course have the opportunity to work closely with Dr. Decker and Laura Stewart, co-curators of the exhibition “A Passionate Pursuit: The Milward Collection,” an exhibition celebrating and documenting this collection. The exhibition opens in the Wilson Gallery on March 2, 2012.Prerequisite: one art history course or by permission of the instructor.

ART 470: B New Museum Theory 4:00-5:15 M/W Taught by Dr. Decker As Earthwork artist Robert Smithson noted, “Museums, like asylums and jails, have wards and cells—in other words, neutral rooms called ‘galleries.’” Smithson’s rejection of the museum and his assessment of the gallery as a dead space is not the only critique of museums and their spaces. For example, Fred Wilson, Andrea Fraser, Mark Dion, and others have critiques the museum from within. Beyond these commentary and actions, authors, critics, curators, and scholars have further questioned the museum. This course investigates the charged space of the museum, the history of museums, and the key theories and practices at play in museums today. Attention will be paid to the role of the object, its placement, and its impact on the viewer as much as the institution. Building upon these discussions, students undertake several experiential projects, including one that incorporates Web 2.0 technology. In addition, students develop case studies of galleries and their spaces. Students are charged with the questions: Can museums change? And, do they? Prerequisite: one art history course or by permission of the instructor. However, please note: this course is not primarily focused on art museums, but rather on object studies. Students from all majors are encouraged to enroll!