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Instrumental Study on Guitar. Continued studies from Beginning Guitar. Advanced study in fret-board harmony and theory.

Instrumental Study on Guitar. Continued studies from Beginning Guitar. Advanced study in fret-board harmony and theory, play in different tunings, increase chord vocabulary and repertoire.

This intermediate level course focuses on work in the performance of improvisation. For dancers, special attention is given to the development of individual movement vocabularies, pattern recognition and the exploration of forms and structures.

This course will focus on improving our ability to hear, replicate, and document music. We will concentrate on honing melodic and rhythmic transcription, while also developing ways of identifying and notating modern instrumental and electronic techniques. The students will help guide the direction of the course by choosing particular musical examples and topics for

This course will focus on improving our ability to hear, replicate, and document music. We will concentrate on honing melodic and rhythmic transcription, while also developing ways of identifying and notating modern instrumental and electronic techniques. The students will help guide the direction of the course by choosing particular musical examples and topics for

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

“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

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

“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

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

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

“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

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

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

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

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

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

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

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. 

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

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

This course is intended for students with some playing and reading experience. Students will expand upon a repertoire of scales and chords. They will study and learn to play selected compositions.

This course is intended for students with some playing and reading experience, who have passed Piano Lab I or its equivalent. The goals of this course are to gain ease and dexterity at the keyboard, further developing a confident piano technique, musical expression, and the skill of reading musical notation. Students will expand upon a repertoire of scales and chords. They

This course is intended for students with some playing and reading experience, who have passed Piano Lab I or its equivalent. The goals of this course are to gain ease and dexterity at the keyboard, further developing a confident piano technique, musical expression, and the skill of reading musical notation. Students will expand upon a repertoire of scales and chords. They will