Visual Arts

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Term
Time & Day Offered
Level
Credits
Course Duration

Spatial Interventions — VA4127.01

Instructor: Donald Sherefkin Dana Reitz
Credits: 4
For this class, we will be constructing elements to directly interact with the structures and the spaces of the campus, with the intention of creating or revealing new understandings of our built environment. In the process of doing so, we will be exploring our own physical interactions with these shifting locations. Assignments will require that projects address the physical

Spatial Justice: Incorporating Social Theory into Artistic Practice — APA2183.01

Instructor: Kenneth Bailey, MFA Teaching Fellow
Credits: 2
Spatial Justice is concerned with how space produces and is a product of power. All social movements deal with some aspect of spatial injustice which makes it a useful way for movements to find possibilities for solidarity. There is also a growing constituency of artists—from socially engaged artists, to sculptors, scenographers, musicians, etc.—who are incorporating ideas from

Spatial Narratives — DAN4228.01

Instructor: Dana Reitz
Credits: 2
The configuring of two people simply standing in a particular space can mean many different things — to those in it and to those seeing it. By having the two change where they face, switch positions with each other, or move to other locations, we can notice the impact of these changes on how we see the space, how we read the relationship and how we understand the action.

Special Projects: As It Relates to the Tool — SCU4227.02

Instructor: John Umphlett
Credits: 2
This class exists as an expansion into individual projects related to information that was discovered in Idiosyncratic Tools. Each student must write a proposal due on the first day of class that includes an outline of the proposed “Tool” functionality, ideas about materials and some rough diagram describing the procedures involved in producing the device. This Tool proposal

Special Topics in Video Production: Indirect Memory: Experimental Documentary and Parafictional Approaches to the Moving Image — FV4219.01

Instructor: Chelsea Knight
Credits: 4
This course explores the boundaries between fiction and documentary in film and video, and registers shifts in contemporary art in relation to these forms. In particular, we will look at the way experimental movements in documentary and carefully constructed parafictions can engage and interact with political spaces differently than traditional documentary or fiction. Students

Special Topics in Video Production: Misogyny in the Media — FV4114.01

Instructor: Chelsea Knight
Credits: 4
This course will trace the path that misogyny has taken in the media since the onset of third wave feminism. In the class, we will look at both mainstream and experimental films, television, videos and news media that either reproduce or resist misogynist stereotypes. Students will conduct research into the history of misogyny and build two video works that respond to its

Species of Spaces — ARC2130.01

Instructor: Donald Sherefkin
Credits: 4
Working from George Perec’s essay, this studio will explore strategies of describing the physical world, with an emphasis on the elements of architecture. The subjects of the work will include rooms, buildings, cities and maps, both real and imaginary. Beginning with a sheet of paper as our starting point, students will gradually work with increasingly larger scales, following

Species of Spaces — ARC2130.01

Instructor: Donald Sherefkin
Days & Time: TBA
Credits: 4
Working from George Perec's text, this studio will explore strategies of describing the physical world, with an emphasis on the elements of architecture.  The subjects of the work will include rooms, buildings, cities and maps, both real and imaginary. Beginning with a sheet of paper as our starting point, students will gradually work with increasingly larger scales,

Speculative Fictions and Critical Fabulations — FV2206.01

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

Speculative fiction is storytelling that starts with something real, some phenomenon observable in the present or recent past, and asks “What if?” - extrapolating into the future or alternate realities. Critical fabulation, as coined by Saidiya Hartman in the essay “Venus in Two Acts,” is a method for recovering unwritten histories. By

Sports — FV4105.01

Instructor: Karthik Pandian
Credits: 4
This intermediate video production course will explore the relationship between moving image and athletics. Students will examine the work of pivotal figures from Leni Riefenstahl to O.J. Simpson in an effort to understand the role sports play in society, art and life. Studio projects will focus on formal issues from camera movement, stabilization, resolution, depth

Still + Moving Image — PHO2156.01

Instructor: Jonathan Kline
Credits: 4
In this remote course we will explore the rich terrain between photography and film from the early 20th century to the present moment. Through weekly screenings, pdfs of published texts, and synchronous small discussion groups, we will study the still/moving image work of Moholy-Nagy, Helen Levitt, Gordon Parks, Mary Ellen Mark, RaMell Ross, and others. Written responses will

Strategies of Display (The Museum as Muse) — PHO4102.01

Instructor:
Credits: 2
This course will present a history of art exhibitions, that artists and curators have embarked upon that have shifted the way we think about exhibitions today. We will look closely at artist-driven exhibitions, and how these displays have impacted artistic production and institutions that exhibit Art. Students will be doing self-directed 

Studio Projects and Practices in Ceramics — CER4375.01

Instructor: Barry Bartlett
Days & Time: TBA
Credits: 4
The process of making art work will be the major focus of the class. This studio class is designed to support the development of the creative process in ceramics with an understanding lending itself to all forms of art making. Projects will be conceptually based, requiring investigation on an individual level. Issues to be raised in this class will include functional and

Studying Place: Projects — ENV4216.01

Instructor: Kerry Woods, Donald Sherefkin
Credits: 4
***New description*** How have interactions between culture and biological/physical environment shaped the history and current nature of the Bennington community and its surroundings? How does their interplay constrain and enable its future? How might planning for Bennington’s future best recognize this history and build on the landscape presented by it? Students will

Subject and Meaning in Painting — PAI4202.01

Instructor: Andrew Spence
Credits: 4
Since the 1960s, art styles and trends have become increasingly diverse. This may make it easier for more artists to find acceptable venues of expression, but as the options increase, it may be more difficult for artists who are still in their formative stage of development to find their own way of expression. This course is designed for students who are starting to develop

Subject and Meaning in Painting — PAI4202.01

Instructor: Andrew Spence
Credits: 4
Since the 1960s, art styles and trends have become increasingly diverse. This may make it easier for more artists to find acceptable venues of expression, but as the options increase, it may be more difficult for artists who are still in their formative stage of development to find their own way of expression. This course is designed for students who are starting to develop

Surrealism in French Cinema — FV4316.01

Instructor: Noëlle Rouxel-Cubberly
Credits: 4
In this course, students will examine what Michael Richardson calls "practices of surrealism" in French cinema. Theoretical readings will help students explore surrealism, the first literary and artistic movement to become seriously associated with cinema. This course will also invite students to reflect upon traces of surrealism in French cinema at the end of the 20th and

Systemic Generative Visual Investigations — CS4160.01

Instructor: Andrew Cencini; Guy Snover
Credits: 4
What is possible when the work of art is a computational system and the means of production are robotic? This advanced computation course will lead students from abstract computational structures to physical two and three dimensional forms. The conceptual artist Sol Lewitt stated, "The system is the work of art; the visual work of art is the proof of the System." Our platform

Tablescape: Production Lab — CER4109.01

Instructor: Yoko Inoue
Credits: 2
This class is structured for students who have knowledge, experience and skills in Architecture, Sculpture, and 3D design technology and wish to explore production of ceramics functional ware by developing mold making skills and applying slip casting methods to their projects. Students who are enrolled in the advanced level of slip casting class, Tablescape: Slip Casting

Tablescape: Slip Casting Project for Communal Kitchen — CER4265.01

Instructor: Yoko Inoue
Credits: 4
Tablescape project considers ceramic tableware through the lens of architecture (space) and table design (place). For the occasion of the implementation of a communal kitchen, in the new Students Center, that aims to foster community building, students will design and produce a series of functional ware by utilizing slip casting method. We will focus on creating a work

Taiwan and the World: Small in Size, Global in Impact — CSL2010.01

Instructor: Ginger Lin
Days & Time: TH 1:40pm-3:30pm
Credits: 2

Taiwan was the first country in the region to legalize same-sex marriage, the first to elect a female president, and today women make up about 42% of its national legislature.

All this goes to show that Taiwan's global influence far exceeds its size. Known as “Formosa” (“beautiful island”), it attracts visitors with its landscapes, rich food culture, and personable

Taiwan Today: Society, Media, and Trends — CHI4513.01

Instructor: Ginger Lin
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 4

In this course, students will explore contemporary Taiwanese society, one of Asia’s safest, happiest, and most progressive, through audio, video, and print media. They will examine everyday life, social trends, and Taiwan’s political landscape, including women’s 42% representation in the legislature, the rise of single women keeping pets, and Taiwan as the first Asian

Taiwanese Cinema and Culture — CHI4514.01

Instructor: Ginger Lin
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 4

Taiwanese films are characterized by a distinctive human warmth, a grounded and realistic portrayal of everyday life, and a strong sense of place conveyed through natural landscapes and local settings. Many films focus on the perspectives of ordinary people, addressing social issues and expressing concern for real-life experiences. Themes often explore identity, gender, and

Technical Topics: Moving Image Equipment — FV2128.02

Instructor: Colleen Murphy
Credits: 2
This seven-week course is an opportunity to gain hands-on experience with the entire video and animation equipment inventory. In class we will use a wide variety of cameras, set up audio and lighting equipment, learn about camera stabilization, capture drone footage, and experiment with projectors. Throughout the course students will be asked to give live demonstrations and

Technical Topics: Video and Animation Post-Production — FV2143.01

Instructor: Colleen Murphy
Credits: 2
This 2 credit course will be focused on developing post-production editing skills within Adobe Premiere and Adobe After Effects. The topics covered are applicable to any video based project within any discipline and include color correction, text and graphics, masking, compositing, key framing, and the visual language of editing. Students will be working independently at their