Costume Design Projects — DES4108.01
Dance, Musicals, Opera - a costume studio practice
The class will consist of three elements-
1) Designing a produced piece in drama or dance
Visual Arts
Select Filters and then click Apply to load new results
cover-up ; sublimate situation c-u;ss — SCU4228.01
How do I begin? What's happening already…we are the studio.
This course is designed to bring together creative minds who feel the need to take the next steps into understanding how to create an idea three dimensionally. How do I take an abstract idea and begin to translate it
Creating with Javascript — DA2134.02
This course is an introduction to programming interactive and graphic experiences for the web browser. Using the Javascript library p5.js, we will get to know the basics of writing script and learn how to use them to implement dynamic sites and web applications. Together we will learn to break down interaction into logical steps, how to articulate those steps using the
Creative Economies — APA2167.02
This course is designed for students of all disciplines who are interested in connecting their discrete creations (a poem, a drawing, an artwork, a product, an event) to larger systems, organizations, and possible art worlds. In this course, we will examine the ways in which every aspect of your production and distribution process — from sourcing materials to organizing your
Creative Podcasting — MSR2125.01
In this course, we will explore the creative possibilities of the podcast medium and push the edges of verbal storytelling. We will investigate the forms of audio journalism and poetic soundscapes. We will use creative voice processing techniques working with electronics to transform the human voice. There will be an emphasis on production and experiential learning through
Creative Strategies for Artists — APA2165.01
This course examines production methods and career strategies for emerging artists, especially those working across genres. Specifically, we will focus on fundraising via donations, grants, commissions, day jobs and other sources; strategic planning, especially when looking at socially-engaged practice; written and verbal communications; working with venues; promotion and press
Critical Response in Painting — PAI4309.01
In order to make successful work, artists must know when to follow their instincts, take risks or try new approaches toward developing ideas. Self-confidence and the ability to be critical of one's own work are the tools that come with experience.
This course is intended to offer students feedback on their work as it develops. Their work is addressed within the context of
Critical Texts in Recent Art — VA4154.01
This course is a reading seminar of important texts on art and culture by critics, theorists and artists from late modernism through postmodernism to the present moment. It will include close readings and discussions of essays from 1960 to 2013 to consider the changing conditions under which art is conceived, produced, distributed and experienced. A departure point for the
Cultural Studies: Learning Culture Through Ikebana — MOD2148.01
This is the first of a two-module series that discusses the importance of approaching a different culture from its own perspective. The series, which includes Cultural Studies: Amanda Knox in Translation (MOD2138), will help students experience the process of cross-cultural understanding.
The capacity to sense, let alone experience, another's point of view seems critical in
Cup Lending Library — CER4108.01
All art is a form of communication. The ceramic cup is unusual in that it communicates, perhaps best, through touch. The Cup Lending Library is designed to facilitate this kind of communication on our campus. In this course, students will curate and make cups for a Cup Lending Library to be permanently installed in Crossett Library. The Cup Lending Library will act as an
CUPS Tablescape Design Project: Slip Casting Production Lab — CER4254.01
This lab class is structured for students who have completed CER2208 CUPS: Slip Casting and Mold Making (or equivalent introductory mold making and slip casting courses) to achieve independent production goals to create a series of ceramic functional ware (cups). The two-hour weekly lab will be guided by the faculty so that
CUPS: Mold Making and Slip Casting — CER2208.01
This is an introductory course of basic mold making and slip casting techniques for producing systemic components to create a series of functional ware. This course focuses on the development of design concepts through exploration of slip casting methods, application of alteration and assemblage techniques and experimentation of prototype makings to produce ceramic multiples
CUPS: Mold Making and Slip Casting — CER2208.01
This is an introductory course of basic mold making and slip casting techniques for producing components to create a series of functional ware. This course focuses on the development of design concepts through exploration of slip casting methods, application of alteration and assemblage techniques and experimentation of prototype
CUPS: Mold Making and Slip Casting Production Lab — CER2127.01
This lab class is structured for students who are registered for CER2208 CUPS: Slip Casting and Mold Making to achieve production goals. The two-hour mandatory lab will be guided by the faculty so that students can receive technical guidance and adequate support to establish their studio production practices and expand their
Curator, Artist, Impresario: Modes of Exhibition Making — VA2244.01
This introductory class traces the historical evolution of contemporary curatorial practice. We start with the early tradition of curators as experts and custodians of collections. Building on that foundation, we examine the twentieth-century emergence of the curator as a visionary impresario and producer of global exhibitions. Throughout, we consider how artists since the
Curator, Artist, Impresario: Modes of Exhibition Making — VA2244.01
This introductory class traces the historical evolution of contemporary curatorial practice. We start with the early tradition of curators as experts and custodians of collections. Building on that foundation, we examine the twentieth-century emergence of the curator as a visionary impresario and producer of global exhibitions. Throughout, we consider how artists since the
Curatorial Choices: Multiple Narratives in the Bennington Collections — VA2227.01
How does augmenting and rearranging an exhibition change the meaning it communicates? This course explores this question via the raw material of an art show in Usdan Gallery. Term starts with the opening of “Unpacking the Vault,” curated by fall term students who researched objects from the college collection and constructed narrative strains about Bennington’s history. Spring
CURRENT STRATEGIES FOR COMPOSITION AND PERFORMANCE: sound, movement, vision — MPF4218.02
This is a combination seminar and lab that will offer immersion into the process of creating performance work through the investigation of resources and inspirations crossing the usual disciplinary boundaries of music, movement, and retinal art. The course will culminate in a performance of student works.
Cut/Copy: Masking and Compositing Digital Images — PHO4125.01
Designed for students who have completed Foundations of Photography, this 2-credit course teaches advanced, non-destructive Photoshop techniques for adding and removing content, and invites the remaking of existing images. Working with a range of tools for selections and masking, multiple adjustment layers, and blending modes, students will learn to make bold modifications,
Dance on Film to TikTok Culture: Framing the Rendered Body — DAN2353.01
This hands-on course co-taught by dance faculty Elena Demyanenko and guest video-artist Tori Lawrence will utilize camera/iPhone exercises, selected film screenings (to understand a range of perspectives), and improvisational games to give students an opportunity to expand and refine their own visual sensibilities with the goal of creating collaborative dance and camera
Data Social Justice — DA2135.01
Digital technologies have fundamentally shifted how social justice movements operate. "Organizing without organizations" and "laptop activism" are no longer novel or fringe activities. The social media tools we rely on to gather in public can also be antagonistic toward individual participants. This course explores the digital tools and data archives that inform modern
Deco Depression: Representing Race, Gender, and Sexuality between the Wars — AH2111.01) (new course code 2/14/2024
The raucous and repressive but also radical and recalcitrantly white supremacist period c. 1918-1941 has many names. In the U.S. this generation-long span between the two World Wars encompasses or overlaps, e.g. The Harlem Renaissance, The Jazz Age, The Depression, Prohibition, The Dust Bowl, The Progressive Era, and Jim Crow. In this visual studies course, we’ll investigate
Decolonial Approaches to Settler Colonialism in American Visual Arts — AH4124.01
In this upper-level seminar, we will study the history of American art and visual culture in light of decolonial thought produced by Indigenous peoples in their ongoing resistance to the colonization of so-called North America. This approach will teach us to see the arts’ entanglements in the operations of colonial power and sustain our goal to decolonize the practice