BFA Statement + Exhibition
This course is meant to supplement the work done in the student’s major studio classes. It focuses on preparing the BFA candidate for their exhibition, BFA Thesis Paper, Short Artist’s Statement and BFA Thesis Examination. The BFA Review process is comprised of four components:
Collage + Assemblage
Course No. VAT 212 Credits: 3.0
Faculty Anthony Ingrisano
Collage and Assemblage are among the most radical innovations of the early 20th century and these forms remain relevant today as sources for innovation and experimentation. Each of these forms acknowledges the fracture of contemporary life and the ongoing need for new means of expression. This course will explore the relationship between collage and assemblage and various disciplines within the visual arts including Painting, Print, and Drawing. Students will learn to discern the significantly different effects and content of the wide range of strategies these approaches encompass. Through classroom discussion, lectures, readings, critiques and studio work students will explore the possibilities available through collage and assemblage. Emphasis will be given to the historical and contemporary studio practices associated with collage and assemblage. This course is open to all students from all majors. Students will be encouraged to apply their area of expertise to the studio work.
Criticism as Studio Practice
Course No. VAT 341 Credits: 3.0
This course will be of interest to all students maintaining a studio practice and focuses on the role of critical dialogue in forming and informing studio production. Through modern and contemporary models, students will be asked to consider the relationship between what is critically said about a work of art and how that frame effects the work's standing in the world. Examples to be considered will include: Apollinaire and Picasso; Pollock and Greenberg; Andy Warhol's practice; Andre Serrano's Piss Christ; Robert Mapplethorpe's work; Chris Ofili and the Young British Artists; and the television show "Work of Art." Students will develop and participate in projects extending from these models as well as giving an intensive look at their own practices and how what they make is changed by the critical dialogue which surrounds making in an academic environment. This course is open to all students.
Hybrid Approaches Drawing & Painting: Digital Media
Course No. PTG 327H Credits: 3.0
Emphasis is on integrating digital processes into studio practice and production. The class deals with a spectrum of digital applications in a studio practice including straight forward digital output, using digital as a means of producing source material as well as actually integrating digital processes into the production of work. Through slide presentations, viewing actual work, discussions and readings, students will be introduced to the place of the digital in contemporary studio practice. In studio production, students will use varied media and subjects, both traditional and nontraditional, to further develop their analytical and expressive means in their creative practice. Students are encouraged to draw from many disciplines incorporating them in the projects presented to the class for group critiques. Open to all students – required of Printmaking and Drawing juniors. Offered fall.
Hybrid Approaches to Drawing + Painting: Digital Media
Emphasis is on integrating digital processes into studio practice and production. The class deals with a spectrum of digital applications in a studio practice including straightforward digital output, using digital technology as a means of producing source material as well as actually integrating digital processes into the production of work. Through slide presentations, viewing actual work, discussions, and readings, students will be introduced to the place of the digital in contemporary studio practice. In studio production, students will use varied media and subjects, both traditional and non-traditional, to further develop their analytical and expressive means in their creative practice. Students are encouraged to draw from many disciplines incorporating them in the projects presented to the class for group critiques. Open to all students; required of Printmaking and Drawing juniors. Offered fall.
Image + Form II: Reproducibility
Reproducibility (offered with an emphasis on either 2D or 3D production) introduces the student to the idea that the uniqueness of the work of art is not an intrinsic or inherent quality of the work itself, but the result of the choice of media. Consequently since the Renaissance and the advent of Printmaking, the printing press, and bronze casting, multiplicity and reproduction have been a part of western culture. The machine age, photo-reproduction, lithography, industrial standardization, modularity, fabrication, and multiplicity became part of artistic practice. Prints, posters, readymades, objects, books, commix, and designed utilitarian objects editions, multiples, modules, and reproductions are now a significant aspect of contemporary art making which abandons the notion of the unique work. Making works of this kind requires the artist to take into consideration how the act of reproduction, or replication constitutes part their work’s form and content. Open as elective to all majors. This course is required for all sophomore students in Visual Arts. Offered spring.
Installation + The Constructed Object
Course No. VAT 226 Credits: 3.0
This course is a special topic course designed to cover the design, construction and lighting of installations, stage sets, and performance spaces. Students will investigate contemporary applications and approaches to subjects specifically composed for the camera and document installations that exist outside of the studio environment, with an emphasis on the genre’s relationship to historical and contemporary theater. Workshops include cameras, studio lighting, basic electricity and carpentry, with an emphasis on scenery design. Students will plan and create small-scale models of stage designs; scale up these designs, and document their design. This course is designed for the Photography major and any students working in installation or industrial design but is open to all majors. This course is cross-listed with Visual Arts. Open Studio elective.
Intro to Painting: Painting History: 1828-Present
This is a beginning painting course. It is a prerequisite for painting electives and all advanced painting courses. This course introduces students to painting through historic painting practices and conventions using oil-based paint as the primary material. Students are asked to approach painting pre-photographically (as if the year were 1828). Students are introduced to the fundamentals of a traditional painting practice with an emphasis on observational rendering and applied color theory beginning with Newton. Students will learn about color mixing, brush types, support construction and general canvas preparation. Students will paint from life learning how to capture the three- dimensional world on a two-dimensional surface as well as how to use material working through shape, form, texture, and mark to create an illusion of space and mass. Through critiques, discussions, readings, slide presentations, and museum visits, students will develop vocabulary and critical thinking skills essential to their studio practice as well as a sense of the history of painting leading to contemporary practices. Offered fall.
Assistant Professor | Chair of Painting
Anthony Ingrisano is an instructor in CIA's Painting and Foundation departments. Ingrisano shows with Lesley H...more
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