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Showing 25 Results of 7386

Art in the Public Realm: Oslo Project II — VA4107.01

Spring 2015
Instructor: Jon Isherwood; Susan Sgorbati
Days & Time:
Credits: 2
Through the experience of developing with Jon Isherwood a site-specific, commissioned work of art for the U.S. Embassy in Oslo, Norway, students in this course will examine the definition, unique challenges, history, and implementation of public art. In the second-half of this year-long course, the class will continue to conduct case studies of public art projects and to
CAPA Visual Arts

Art Intervention Projects Class: Mapping Projects on Climate Change — APA2216.01

Fall 2018
Instructor: Susie Ibarra
Days & Time:
Credits: 4
The students will study a creative model and methods used by Composer/Percussionist Susie Ibarra and Glaciologist/Geomorphologist Michele Koppes that sonically maps water sources, downstream communities and shifting landscapes in the Himalayas used to create an acoustic story on climate change. Each student will map an individual project of their own over the term using
CAPA

Art of Alterity: Representation and Otherness in American Visual Culture, 1839-1939 — AH2347.01

Spring 2021
Instructor: Vanessa Lyon
Days & Time:
Credits: 4
From the advent of photography to the start of the second World War, American art, the cultural product of a former British colony younger than many of its foreign-born citizens, had what many perceived as "otherness" to contend with. Immigrants, enslaved and later freed, blacks, women of all sorts, sexual “deviants,” religious outsiders, the disabled, among other and
Visual Arts

Art of Auditioning — DRA2178.01

Spring 2020
Instructor: Jennifer Rohn
Days & Time:
Credits: 2
Auditions are an opportunity to develop your artistic voice and your confidence in that voice through self-critique. In this class we will work to demystify the process of auditioning and understand how to prepare and present work under challenging circumstances. We will cover cold readings, monologues and prepared scenes, with an in-depth look at each step of the process, from
Drama

Art of Resistance: The Bennington College Poster Project (part 1) — VA2118.02

Fall 2018
Instructor: Ann Pibal
Days & Time:
Credits: 2
This course will provide a collaborative site for the production of distributable protest and resistance imagery, as well as a shared investigation into the rich international history of political posters and related ephemera. Students will be provided structure both in which to work together on research, and on the design, production, and distribution of imagery. Discussion
Visual Arts

Art of Resistance: The Bennington College Poster Project (part 2) — VA2119.01

Spring 2019
Instructor: Ann Pibal
Days & Time:
Credits: 2
This course will provide a collaborative site for the production of distributable protest and resistance imagery, as well as a shared investigation into the rich international history of political posters and related ephemera. Students will be provided structure both in which to work together on research, and on the design, production, and distribution of imagery. Discussion of
CAPA Visual Arts

Art of Stage Design — DRA2250.01

Fall 2015
Instructor: Michael Giannitti
Days & Time: TBA
Credits: 4
A set design communicates lots of information to an audience, and provides the physical world in which a performance takes place. In his book The Dramatic Imagination, the great set designer Robert Edmond Jones wrote: “…we may fairly speak of the art of stage designing as poetic, in that it seeks to give expression to the essential quality of a play rather than to its outward
Drama

Art of Stage Design — DRA2250.01

Fall 2025
Instructor: Michael Giannitti
Days & Time: TU 8:30am-12:10pm
Credits: 4

A set design communicates lots of information to an audience, and provides the physical world in which a performance takes place. In his book The Dramatic Imagination, the great set designer Robert Edmond Jones wrote: “…we may fairly speak of the art of stage designing as poetic, in that it seeks to give expression to the essential quality of a play rather than to

Drama

Art of Stage Design — DRA2250.01

Spring 2018
Instructor: Michael Giannitti
Days & Time:
Credits: 4
A scenic design communicates lots of information to an audience, and provides the physical world in which a performance takes place. In his book The Dramatic Imagination, the great set designer Robert Edmond Jones wrote: “…we may fairly speak of the art of stage designing as poetic, in that it seeks to give expression to the essential quality of a play rather than to its
Drama

Art of the Islamic World — AH2123.01

Fall 2018
Instructor: Razan Francis
Days & Time:
Credits: 4
This course is an introduction to the art of the Islamic world from the late seventh century to the present, covering a geography that extends from Central and South Asia to North Africa and Spain. Focusing on objects of different materials (e.g., mosaics, textiles, metalwork, painting, sculpture, wood, ivory carvings, illuminated manuscripts, and glassware), we will pay
Visual Arts

Art of the Sonnet: Conventions and Inventions — LIT4113.01

Spring 2020
Instructor: Michael Dumanis
Days & Time:
Credits: 4
The sonnet, from the Italian sonnetto, or little song, has a long and rich history as a poetic form, described by contemporary poet Laynie Browne as ʺa controlled measure of sound and space within which one can do anything. An invitation.ʺ This course, a literature seminar with a significant creative component, will invite you to study the sonnet in‐depth, both as a traditional
Literature

Art of the Sonnet: Conventions and Inventions — LIT4113.01

Spring 2017
Instructor: Michael Dumanis
Days & Time:
Credits: 4
The sonnet, from the Italian sonnetto, or little song, has a long and rich history as a poetic form, described by contemporary poet Laynie Browne as ʺa controlled measure of sound and space within which one can do anything. An invitation.ʺ This course, a literature seminar with a significant creative component, will invite you to study the sonnet in‐ depth, both as a
Literature

Art on the Brink of Modernity in the 18th Century — AH4103.01

Fall 2015
Instructor: Zirwat Chowdhury
Days & Time: TBA
Credits: 4
This seminar explores how art and visual culture in France, Britain, and South Asia catalyzed and were informed by an emerging culture of modernity in the 18th century. By situating the relationship between art and modernity within global networks of trade, diplomacy, and colonial power, the course also offers students an opportunity to asses the ways in which art instantiated
Visual Arts

Art, Visual Culture, and Empire in the Nineteenth Century — AH4104.01

Spring 2016
Instructor: Zirwat Chowdhury
Days & Time:
Credits: 4
This course will engage students with a critical history of nineteenth-century art and visual culture in Europe (primarily France, Britain, and Belgium) and its colonial domains in North and Central Africa, the Near and Middle East, and South Asia. It will thus explore how nineteenth-century art and visual culture instantiated the psychological, physical, and imaginative
Visual Arts

Artificial Intelligence — Canceled

Spring 2017
Instructor: Justin Vasselli
Days & Time:
Credits: 4
In this class, students will learn the basics of Artificial Intelligence and Machine Learning.  We’ll talk about algorithms that allow computers to play simple games like Mancala or Pac-Man, including search algorithms, decision trees, and pathfinding. We’ll talk about how software can “learn” from a dataset, and apply that “knowledge” to improve its future effectiveness.
Science and Mathematics

Artificial Intelligence — CS4105.01

Spring 2026
Instructor: Darcy Otto
Days & Time: TU,FR 2:10pm-4:00pm
Credits: 4

How can we create machines that think, learn, and solve problems? This course explores the fascinating field of artificial intelligence (AI), introducing the fundamental concepts, techniques, and ethical considerations that drive this rapidly evolving discipline.

Building upon your programming knowledge, you will explore key AI paradigms including search algorithms,

Computer Science

Artist's Portfolio — DAN4366.01

Fall 2019
Instructor: Dana Reitz
Days & Time:
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop–creatively and flexibly–essential skills. Finding a public language for what is the private
Dance Drama Music

Artist's Portfolio — DAN4366.01

Fall 2014
Instructor: dana reitz
Days & Time: TBA
Credits: 2
Explaining art work often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop, creatively and flexibly, essential skills. Finding a public language for what is the private
Dance Drama Music Visual Arts

Artist's Portfolio — DAN4366.01

Fall 2016
Instructor: Dana Reitz
Days & Time:
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop–creatively and flexibly–essential skills. Finding a public language for what is the private
Dance Drama Music Visual Arts

Artist's Portfolio — DAN4366.01

Fall 2013
Instructor: Dana Reitz
Days & Time: TBA
Credits: 2
Explaining art work often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop, creatively and flexibly, essential skills. Finding a public language for what is the private
Dance

Artist's Portfolio — DAN4366.01

Fall 2018
Instructor: Dana Reitz
Days & Time:
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop–creatively and flexibly–essential skills. Finding a public language for what is the private
Dance Drama Music Visual Arts

Artist's Portfolio — DAN4366.01) (cancelled

Fall 2021
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop essential skills, creatively and flexibly. Finding a public language for what is the private
Dance Drama Visual Arts

Artist's Portfolio — DAN4366.01

Fall 2020
Instructor: Dana Reitz
Days & Time:
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop–creatively and flexibly–essential skills. Finding a public language for what is the private
Dance Drama Music Visual Arts

Artist's Portfolio — DAN4366.01

Fall 2015
Instructor: Dana Reitz
Days & Time: TBA
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop--creatively and flexibly--essential skills. Finding a public language for what is the private
Dance Drama Music Visual Arts