Visual Arts

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Term
Time & Day Offered
Level
Credits
Course Duration

Propaganda — FV2315.01

Instructor: Mariam Ghani
Days & Time: TU 2:10pm-5:50pm
Credits: 4

Since its inception, film has been used for propaganda - disseminating information with a particular slant, whether subtle or obvious - by regimes and independent players across the political spectrum. As the means of production and circuits of distribution become ever more accessible to individuals, we have moved from an era of focused

Puppets and Animation I — MA2325.01

Instructor: Sue Rees
Days & Time: TBA
Credits: 4
The class will be concerned with animating inanimate objects by stop motion, drawings, and cut out collages. A variety of filmmakers and techniques will be looked at during the course of the semester. Students will be expected to produce a variety of short projects followed by a longer more sustained project based on current events and environmental issues. Students will be

Queer Renaissance — AH4114.01

Instructor: Vanessa Lyon
Credits: 4
A developmental, periodizing, regionalist, and heteronormatively inflected approach to idiosyncratic male artist-geniuses such as Michelangelo, Leonardo, Raphael, and Titian has dominated Renaissance art history. Yet given its cross-cultural colonial origins and paradoxical investment in both 'pagan' antiquity and Christian humanism, ‘pre-modern’ Renaissance visuality is

Queer Renaissance — AH4114.01

Instructor: Vanessa Lyon
Credits: 4
A developmental, periodizing, and heteronormatively-inflected approach to idiosyncratic male artist-geniuses such as Michelangelo, Leonardo, Raphael, and even Titian has dominated Renaissance art history. Yet given its cross-cultural, colonial origins, and paradoxical investment in both ‘pagan’ antiquity and Christian humanism, ‘pre-modern’ Renaissance visuality is anything but

Queer Renaissance — AH4114.01

Instructor: Vanessa Lyon
Credits: 4
A developmental, periodizing, and heteronormatively inflected approach to idiosyncratic male artist-geniuses such as Michelangelo, Leonardo, Raphael, and Titian has dominated Renaissance art history. Yet given its cross-cultural, colonial origins, and paradoxical investment in both 'pagan' antiquity and Christian humanism, ‘pre-modern’ Renaissance visuality is anything but

Quliritaa: S/he tell a legend — VA4318.03

Instructor: Yoko Inoue
Credits: 2
Alaska Native oral forms of education, history and legend benefit from a profoundly personal relationship-based approach to one of the most important ways we connect. Verbal communication is breathing, evolving, raw with vulnerability and very much rooted in a present form of communion. Reciprocity and relationships are foundational values of Yup’ik culture, and it makes sense

Rape/Culture: Sexual Violence and the Visual Arts, from Giambologna to Kara Walker — AH2405.01

Instructor:
Credits: 2
“Heroic rape” is no stranger to art history. Under this rubric, students have been introduced to the field and its concerns via crisp photographs of canonical works in which Roman foundation legends, etiological myths, and political absolutism are prescribed and perpetuated via the trope of (eroticized) sexual violence. The existence of a ‘rape culture’ in modern life in

Reading the Photograph — PHO2306.01

Instructor: JKline@bennington.edu
Credits: 4
This course invites students to explore a range of writings on the photograph from the 19th, 20th, and current century. Readings will be shared by literary and cultural critics, artists, scholars including Lady Eastlake, Charles Baudelaire, Walter Benjamin, Roland Barthes, Susan Sontag, John Berger, Martha Rosler, Allan Sekula, bell hooks, T.J. Demos, and Mark Sealy. Students

Reading the Photograph — PHO4218.01

Instructor: jonathan kline
Days & Time: TBA
Credits: 4
This course invites students to explore the myriad ways that the photograph has been considered over past 175 years. From the early observations of Charles Baudelaire, Lady Eastlake, and Fox Talbot through the 20th century insights of Walter Benjamin, Roland Barthes, and John Berger, we will investigate the aesthetic, social, and political aspects of the medium. More recent

Reimagining Representation — PHO2113.01

Instructor: Carly Rudzinski
Credits: 4
Photography was used for scientific purposes and a tool of imperial colonialization during the early years of its invention. These two things have helped shaped its history of representation of the body. Marginal groups of individuals when they were represented in photography were often presented in a stereotypical manner. This course will offer students an opportunity to

Reimagining Representation — PHO2113.01

Instructor: Terry Boddie
Credits: 4
Photography was used for scientific purposes and a tool of imperial colonization during the early years of its invention. These two things have helped shape its history of representation of the human figure. Marginal groups of individuals when they were represented in photography were often presented in a visually limiting and often stereotypical manner. The contemporary

Reimagining Representation — PHO2113.01

Instructor: Carly Rudzinski
Credits: 4
Photography was used for scientific purposes and a tool of imperial colonialization during the early years of its invention. These two things have helped shaped its history of representation of the body. Marginal groups of individuals when they were represented in photography were often presented in a stereotypical manner. This course will offer students an opportunity to

Reimagining Representation — PHO4370.01

Instructor: Carly Rudzinski
Credits: 4
Photography was used for scientific purposes and a tool of imperial colonialization during the early years of its invention. These two things have helped shaped its history of representation of the human figure. Marginal groups of individuals when they were represented in photography were often presented in a visually limiting and often stereotypical manner.

Relief Printing Without a Press — PRI2123.02

Instructor: Thorsten Dennerline
Credits: 2
Using a choice of linoleum or wood blocks and non-toxic water-soluble ink, we will examine different approaches to mark-making: from graphic and angular to painterly and gestural.  Students will learn image preparation and transfer methods, sharpening and care of tools, wood and linoleum carving methods, ink and paper preparation, hand-inking and rolling techniques and

Religious Architecture of Islamic Cultures — AH2126.01

Instructor: Razan Francis
Credits: 4
This introductory course explores the architecture of the Islamic world from the beginning of Islam to the present, extending from Spain to India. By examining architectural monuments from different periods and locales, the course demonstrates how architectural production was not only informed by religious ritual, but also shaped by cultural encounters with a diversity of

Religious Architecture of Islamic Cultures — AH2126.01

Instructor: Razan Francis
Credits: 4
This introductory course explores the architecture of the Islamic world from the beginning of Islam to the present, extending from Spain to India. By examining architectural monuments from different periods and locales, the course demonstrates how architectural production was not only informed by religious ritual, but also shaped by cultural encounters with a diversity of

Representing Sexuality and Gender On Screen — MS4105.01

Instructor: Teddy Pozo
Credits: 4
This advanced media studies course explores the relationship between censorship and self-expression, with a particular focus on queer and feminist readings of Hollywood cinema and the history of the adult film and video industry in the United States. From the Motion Picture Production Code, to the ratings system, to SESTA-FOSTA, U.S. media industries have sought respectability

Reveries — ARC4124.01

Instructor: Donald Sherefkin
Credits: 4
Students will develop solitary retreats for a writer/reader/dreamer. We will explore the links between poetics and architecture through the close study of texts and images. The structures will be inspired by poetry and conducive to reverie. There are aspects of poetry that share qualities with architecture: structure, rhythm, repetition, shape, etc. Particular to architecture

Reveries — ARC4124.01

Instructor: Don Sherefkin and Farhad Mirza
Credits: 4
Students will develop solitary retreats for a writer/reader/dreamer. We will explore the links between poetics and architecture through the close study of texts and images. The structures will be inspired by poetry and conducive to reverie. There are aspects of poetry that share qualities with architecture: structure, rhythm, repetition, shape, etc. Particular to architecture

Riso Printing: Photographs — PHO2209.01

Instructor: Veronica Melendez
Credits: 2
A Risograph is a digital duplicator designed for high volume print jobs. Using technology that plays off of screen printing and color copiers, Riso prints retain a unique handmade aesthetic while having the convenience of digital editing and reproduction. In this class students will learn how to print photographs using a Risograph Duplicator. The first 7 weeks of this course

Rubens + Rauschenberg: Racing and Revisioning Genealogies of Modern Art — AH4126.01

Instructor: Vanessa Lyon
Days & Time: WE 2:10pm-5:50pm
Credits: 2

The seventeenth-century Flemish painter-diplomat Peter Paul Rubens is at the heart of a course that proposes the intrinsic baroqueness of diverse strains of high modernism. Our transdisciplinary project crosses entrenched nationalistic and chronological borders between modern and early modern art and artists including Bacon, Guston, Manet, Newman, Picasso, Bearden, and

Rubens and Rauschenberg: Racing and Re/visioning Genealogies of Modern Art — AH4123.01

Instructor: Vanessa Lyon
Credits: 4
The seventeenth-century Flemish painter-diplomat Peter Paul Rubens anchors a course proposing the residual baroqueness in diverse strains of high modernism. Our transdisciplinary project crosses entrenched nationalistic and chronological borders between modern and early modern art and artists including Bacon, Guston, Manet, Newman, Picasso, Reinhardt, and Titian in addition to

Rules of Engagement: Art Curatorial Practices that Animate the Public Realm — VA4122.01

Instructor: Carol Stakenas
Credits: 4
This seminar investigates the creation and curation of contemporary art in the public realm from the 1960s to present day through the work of a range of artists from Allan Kaprow, Border Arts Workshop, Adrian Piper, Group Material, Suzanne Lacy and Mel Chin to Wafaa Bilal, Blast Theory, Andrea Fraser, Jeanne van Heeswijk, Pablo Helguera, Ultra-red and more. The class will

Sacred Spaces — ARC4160.01

Instructor: Donald Sherefkin
Credits: 4
The history of architecture is replete with marvelous constructions that were built to establish a sacred ‘center’ - to give meaning to the world. This studio will look at examples from history of the variety of ways that sacred spaces have been created. Students will develop a series of projects to explore the possibilities of creating ineffable, numinous spaces that may

Salts of Silver, Salts of Iron — PHO4123.01

Instructor: Jonathan Kline
Credits: 4
This class will be centered on making light sensitive emulsions on paper and glass, re-creating some of the earliest photographic processes from the 19th century. We will also be researching the scientific journals and notebooks of William Henry Fox Talbot, Sir John Herschel, Gustave LeGray, in addition to reading Geoffrey Batchen's recent book, "Burning With Desire/The