Visual Arts
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Intermediate Painting: Beyond the Easel — PAI4218.01
In the summer of 1943, Peggy Guggenheim commissioned Jackson Pollock to create a monumental painting. Marcel Duchamp suggested that Pollock use a canvas instead of painting directly on a wall, ensuring the work could be moved. Pollock later wrote of the project, "I’ve had to tear out the partition between the front and middle room [of my apartment] to get the damned thing up. I
Intermediate Painting: Facture — PAI4106.01
“Facture refers to the manner in which a painting, drawing, or object is made. It is the combination of brushstrokes, marks, material, and the texture of the surface. Facture is critical to the success of any object. Much of the fascination that accrues to all manual media comes from what can be observed at close range. That distance reveals the foundation, the touch, the
Intermediate Painting: Facture — PAI4106.01
“Facture refers to the manner in which a painting, drawing, or object is made. It is the combination of brushstrokes, marks, material, and the texture of the surface. Facture is critical to the success of any object. Much of the fascination that accrues to all manual media comes from what can be observed at close range. That distance reveals the foundation, the touch, the
Intermediate Painting: Facture — PAI4106.01
fac·ture - ˈfakCHər/ = noun the quality of the execution of a painting; an artist's characteristic handling of the paint.
Behind the impulse to put paint on canvas is a search for meaning. As an artwork comes into being, its meaning(s) evolve concurrently. Concentrating on the establishment of a rigorous artistic practice, this course will focus on the relationship
Intermediate Painting: Facture — PAI4207.01
Behind the impulse to put paint on canvas is a search for meaning. As an artwork comes into being, so too does its meaning evolve concurrently. This course will focus on the relationship between facture and meaning in painting. Sharpening practical and critical skills, assignments will investigate the processes and methods of painting from practical and theoretical perspectives
Intermediate Painting: Facture — PAI4106.01
Behind the impulse to put paint on canvas is a search for meaning. As an artwork comes into being, its meaning(s) evolve concurrently. Concentrating on the establishment of a rigorous artistic practice, this course will focus on the relationship between facture and meaning in painting. Sharpening practical and critical skills, assignments will investigate the processes and
Intermediate Painting: From Practice to Discovery — PAI4405.01
This course is intended for the student who is looking to build a robust studio practice. Experimenting with materials, techniques, and styles in painting will be encouraged in order to develop an artistic sensibility while instituting regular work habits. Assigned projects and independent work are intended to develop problem-solving as well as problem-finding skills. Group
Intermediate Painting: From Practice to Discovery — PAI4405.01
This course is intended for the student who is looking to build a robust studio practice. Experimenting with materials, techniques, and styles in painting will be encouraged in order to develop an artistic sensibility while instituting regular work habits. Assigned projects and independent work are intended to develop problem-solving as
Intermediate Painting: From Practice to Discovery — PAI4405.01
This course is intended for the student who is looking specifically to build a robust studio practice as well as the capacity to work independently on self-directed projects.. Experimenting with materials, techniques, and styles in painting will be encouraged in order to develop an artistic sensibility while instituting regular work habits. Assigned projects and independent
Intermediate Painting: From Practice to Discovery — PAI4405.01
This course is intended for the student who is looking to build a robust studio practice. Experimenting with materials, techniques, and styles in painting will be encouraged in order to develop an artistic sensibility while instituting regular work habits. Assigned projects and independent work are intended to develop problem-solving as well as problem-finding skills. Group
Intermediate Painting: From Practice to Discovery — PAI4405.01
This course is intended for the student who is looking specifically to build a robust studio practice as well as the capacity to work independently on self-directed projects.. Experimenting with materials, techniques, and styles in painting will be encouraged in order to develop an artistic sensibility while instituting regular work habits. Assigned projects and independent
Intermediate Painting: From Practice to Discovery — PAI4405.01
This course is intended for the student who is looking specifically to build a robust studio practice as well as the capacity to work independently on self-directed projects.. Experimenting with materials, techniques, and styles in painting will be encouraged in order to develop an artistic sensibility while instituting regular work habits. Assigned projects and independent
Intermediate Painting: Ground to Surface — PAI4219.01
When you first learn how to paint, the focus is typically on gaining facility with the application and manipulation of paint to articulate the subject. In this intermediate course, we shift our attention to the often overlooked step that precedes painting: preparing the surface.
Intermediate Painting: Scale, Process, and Presence — PAI4301.01
This studio-seminar course will investigate painting through its history and practice at Bennington College. Using paintings in the permanent collection of the College as a starting point, we will think through the strategies deployed by artists such as Helen Frankenthaler, Paul Feeley, Jules Olitski, Ann Truitt, Ralph Humphrey, and Larry Poons among others. Additionally, we
Intermediate Painting: Scale, Process, and Presence — PAI4301.01
This seminar-studio course will investigate painting from an historical perspective. Using the permanent collection of the College as a starting point, we will think through the strategies deployed by painters working in the context of Bennington from 1950-1980. We will study works by Helen Frankenthaler, Paul Feeley, Jules Olitski, Norman Bluhm, Ralph Humphrey, and Larry Poons
Intermediate Potter's Wheel: Implementation for Form Development — CER4269.01
This 2-credit course is for students who wish to continue to develop their wheel throwing skills. Student must have previously taken Beginning Wheel Throwing or receive permission from the instructor (this will be based on your previous wheel throwing experience). Assignments will include combining wheel throwing and hand building techniques to make multiple sectioned, large
Intermediate Throwing — CER4104.01
In this course students will continue to develop their throwing skills and begin to define their own approach to using the potter’s wheel as a tool for generating forms. They will be asked to expand their form vocabulary on the wheel and further integrate form and fired surface. Students interested in function will be asked to look closely at those associated
Intermediate Video — FV4143.01
Intermediate Video will build on technical skills introduced in Intro to Video. Students will be expected to produce in-class technical exercises, short projects assigned by the instructor, and one final project of their own design. Assigned projects and assignments will have both technical and conceptual constraints. This semester of Intermediate Video will give a broad
Intermediate Video Intensive — FV4309.02
Intermediate Video Intensive will build on the technical skills introduced in Intro to Video, introducing a broad range of higher-level equipment and methods in both production and post-production editing. Students will complete multiple in-class technical exercises, and one project of their own design. This semester of Intermediate Video will be an abbreviated version of a
Intermediate Video Intensive — FV4309.03
Intermediate Video Intensive will build on the technical skills introduced in Intro to Video, introducing a broad range of higher-level equipment and methods in both production and post-production editing. Students will complete multiple in-class technical exercises, and one project of their own design. This semester of Intermediate Video will be an abbreviated version of a
Intermediate Video Production: Reversing the Eye and Ear — FV4308.01
This intermediate moving image course begins with aural experiments before it moves into a film/video space. We will be attentive to sound as a force that conjures inner images and provokes cinematic/experiential feelings without the use of images. For the first couple of weeks we will make imageless films (or sound only projects) constructed with cinematic experiences in mind.
Intermediate Video: Amnesia and the Archive — FV4321.01
Intermediate Video: Amnesia and the Archive is an in-person course with remote options, building on the technical skills introduced in Intro to Video. Students will be expected to produce technical exercises, one short project assigned by the instructor, and one final project of their own design. Shorter assigned exercises will have specific technical constraints. These
Intermediate Video: Contemporary Approaches — FV4117.01
Intermediate Video will build on technical skills introduced in Intro to Video. Students will be expected to produce in-class technical exercises, two short projects assigned by the instructor, and one final project of their own design. This semester of Intermediate Video will give a broad overview of contemporary approaches to pre-production, production, and editing, with an
Intermediate Video: Contrapuntal Contested Narratives — FV4109.01
Intermediate Video will build on technical skills introduced in Intro to Video. Students will be expected to produce in-class technical exercises, two short projects assigned by the instructor, and one final project of their own design. This semester of Intermediate Video will be focused on the following thematic, conceptual and formal questions: How do we approach storytelling