2013-14 Undergraduate Index A-Z
Need help finding the right program? Contact Academic Advising
Tips for Using the Catalog
Art History [clear]
| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days of Week | Multiple Standings | Start Quarters |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|
Robert Esposito
|
Program | FR–SRFreshmen - Senior | 8, 16 | 08 16 | Day | S 14Spring | How can dance serve as a central metaphor for the holistic organization and transformation of personal life experience into aesthetic objects expressing the dynamic connectivity of self, world, and others? Using an expressive arts therapy model, movement study will be integrated with work in writing, drawing, and music in this multidimensional modern dance program to explore an integrative approach to choreography. It will involve disciplined physical and intellectual study, including weekly dance composition homework assignments.Studio activities will include progressive study in Nikolais/Louis dance technique, theory/improvisation, composition, and performance. Readings, self-inventories, and seminars in the philosophy and psychology of the creative process, designed to broaden and enhance the student’s palette of creative choice, will explore factors such as self-image, cultural and educational conditioning, and multiple learning styles. In solo and group collaboration, students will workshop formal craft principles of composition, such as shape, space, time, and motion. Workshops will cover various art media to draw and integrate content from students’ life experiences and/or past interdisciplinary study in order to create original multimedia work. Compositions will be shared weekly in performance forums that include faculty and student-centered critique and analysis.Texts will be used to explore the development of dance and movement therapy, draw distinctions between art and psychology, and explore the creative and therapeutic effects of the expressive arts. Seminar discussions will emphasize critical analysis in order to situate texts, art, film, and student work in historical and sociocultural contexts. Writing assignments will balance creative, analytical, journal, and research styles, with a comparative overview of APA, MLA, and Chicago writing manuals. The program culminates with a Week 10 showing of selected student work. | Robert Esposito | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
|
Marianne Bailey, Shaw Osha (Flores), Bob Haft, Judith Gabriele and Stacey Davis
|
Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 13 Fall | W 14Winter | S 14Spring | ... ...—Hölderlin, "Bread and Wine"We will study art history, literature, philosophy and music in their social and historical contexts in order to understand the Romantic avant-garde thinkers and artists, outsiders in 19th- and early 20th-century Europe, and their tenuous but fruitful dialogue with mainstream culture and the emerging popular culture of the laboring class. We will emphasize French Romanticism, but will also consider the pan-European nature of the phenomenon. This era offers a figurative battlefield where concepts of art, nature and self, order and chaos, locked swords, testing the limits of rational thought. French language study will be an important component of our weekly work; students will study French at one of four levels, from beginning to advanced.The 19th century was an era of immense political change spanning revolutions, empires and finally the establishment of democracy at home, just as European imperialism spread across Africa and Asia. We will study ways in which average women and men crafted their own identities and responded to the larger social forces of industrialization, the creation of a new working class, the solidification of gender and class roles, the rise of modern cities and the redefinition of the criminal, the socially-acceptable and the outsider.In fall, our work will begin with the paintings, poems and ideas of the early Romantics. The Romantics privileged feeling, intuition and empathy. Like adepts in an ancient mystery cult, they sought to commune with Nature. Romantic philosophers, from Schopenhauer to Nietzsche, spoke of Becoming rather than Being. Rejecting Classical order, clarity and restraint, they envisioned a pure art, beyond language and depiction, which speaks musically through color, passion, suggestion, enigmatically, as do dreams.In winter, focus will turn to the late Romantics. Decadents pushed the Romantic temperament and aesthetic to extremes through self parody and the aesthetic of fragmentation. Symbolists attempted to express the inexpressible through their art. Yet Mallarmé, Wilde and Yeats, Moreau and Gauguin, among others, helped prepare the “rites of spring” of the dawning 20th century, the arising vanguard of modernist and postmodern movements.In spring quarter, students may pursue individual research/creative projects on campus or may travel to France for 10 weeks. There they will study in a Rennes, Brittany, language school, do cultural and historical study in Paris and Lyon, as well as make side trips for research of their own.In this program, students will gain a significant grasp of key ideas in art, history and thought within their context, and will have the opportunity to specialize, creating advanced work in their choice of history, art history or writing and literature. We expect strong interest and background in humanities, and considerable self-discipline and motivation. The workload, including French language study, will be substantial and rigorous. Students will work in interdisciplinary all-program sessions and assignments, as well as choose one of three possible seminar groups. These emphasize: 1) literature and philosophy, 2) history, and 3) photography and visual arts, practice and theory. | Marianne Bailey Shaw Osha (Flores) Bob Haft Judith Gabriele Stacey Davis | Sophomore SO Junior JR Senior SR | Fall | |||
|
Dharshi Bopegedera and Susan Aurand
|
Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | S 14Spring | In this program, we will explore how artistic and scientific inquiries can lead to a better understanding of ceramics, a material that has been in human use since antiquity. We will study the principles of chemistry that will enable us to understand the properties of ceramics, which is an exceptional medium for creative expression. In the studio, students will learn basic hand-building techniques and gain an introduction to slips, stains, glazes and the firing process. We will also explore the basics of the chemistry of clay bodies, glaze formation and reduction versus oxidation firing. Program activities will include lectures, workshops, seminars, studios and labs. We expect everyone to create original artworks in ceramics and participate in lab experiences that will enrich their understanding of this material that has evolved with human history. No prior ceramics or chemistry experience is necessary. | arts and sciences. | Dharshi Bopegedera Susan Aurand | Freshmen FR Sophomore SO | Spring | ||||
|
Gail Tremblay
Signature Required:
Fall Winter Spring
|
Contract | SO–SRSophomore - Senior | 16 | 16 | Day | F 13 Fall | W 14Winter | S 14Spring | In the fields listed, Gail Tremblay offers opportunities for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of the quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. The faculty sponsor will support students wishing to do work that has 1) skills that the student wishes to learn, 2) a question to be answered, 3) a connection with others who have mastered a particular skill or asked a similar or related question, and 4) an outcome that matters. Areas of study other than those listed above will be considered on a case-by-case basis. 12- or 16-credit options are available. | Gail Tremblay | Sophomore SO Junior JR Senior SR | Fall | |||
|
Patricia Krafcik, Evan Blackwell and Carrie Margolin
|
Program | FR ONLYFreshmen Only | 16 | 16 | Day | F 13 Fall | W 14Winter | What is creativity? Is there a relationship between states of mind and a fertile imagination? What are the psychological mechanisms involved in the larger action of the human imagination, urging us to explore new avenues, to see what others have not seen, to create what no one has yet created? Many of the world's greatest writers, artists and thinkers have been known to struggle with conditions classified as abnormal by psychologists. We will explore these conditions and their impact on creativity, searching further for any special links between certain kinds of abnormal psychological conditions and the drive to create.Our interdisciplinary program is not intended to serve as therapy, but rather is a serious study of psychology, literature, the arts, imagination and the creative impulse. We will approach our questions through various modes of inquiry. Through an in-depth study of abnormal psychology, we will learn to identify and understand a number of conditions. We will investigate modern art history and its fascination with the art produced by individuals reputed to be cultural "outsiders," such as folk art, art of the insane, art brut and self-taught artists. Through this study we will explore how societies form a group identity which is established in relation to some designated "other." Our readings combine art theory with psychological case studies by writers such as Sacks and Ramachandran and with imaginative literature by Gogol, Dostoevsky, Poe, Kafka, Plath, Gilman and many others that all describe abnormal psychological conditions. We will respond to our readings by channeling the imagination with a variety of creative projects. Finally, we will also study the normal mind and how it functions in both mundane and creative ways.In both quarters of our program students will discuss assigned readings in seminars, will engage in active writing exercises and in rigorous two-dimensional and thre-dimensional visual art work in ceramics, mixed-media sculpture, collage, and drawing. Assignments may include research papers, poster projects, creative writing, performances and visual arts projects. Weekly films and discussions of these films will enhance our examination of the uses or influence of psychological conditions in the creation of literature, art and music. Guest speakers will provide additional workshops and lectures in various artistic modalities. In fall term we will take field trips to the Tacoma Art Museum and the Museum of Glass, and our work that term will prepare students to undertake a culminating project in winter term. In all our activities, students will have ample opportunities to explore their own creativity and imagination. | Patricia Krafcik Evan Blackwell Carrie Margolin | Freshmen FR | Fall | ||||
|
Steven Hendricks and Jean Mandeberg
|
Program | FR ONLYFreshmen Only | 16 | 16 | Day | F 13 Fall | W 14Winter | What makes a work of art capable of narrative expressiveness? What constitutes a narrative? How do artists invest tangible records, stories, artifacts and objects with meaning, and how do readers work to recuperate or transform those meanings for themselves?Many artists and writers have used objects, visual forms, books and text in combination to create a hybrid language that can carry narrative possibilities. How do such works exploit the possibilities of conventional and nonconventional narrative to stimulate the intellect and the imagination? Does imposing a narrative on a work of visual or sculptural art limit it, reduce it to a single interpretation? How can we navigate the space between object and idea as artists, as readers, as makers of things and makers of meaning?This program will explore such questions through intensive studio work in fine metals and book arts. Equally important will be our study of literature that tests the boundary between narrative and non-narrative and the practice of critical and creative writing. The general program structure will include alternating periods of focused writing, imaginative reading, seminar discussion and extended, deliberate work in the studio.Student projects will be direct responses to the themes and questions of the program: explorations of the nature of narrative, the various ways in which objects can participate in, contain, and create narratives. This unique opportunity to combine book arts and fine metals will persistently require competence in technical skills, unusual patience, attention to detail and materials, and articulate translations between ideas and visual forms.The second quarter of the program will in part evolve from the discoveries of the first and will involve deepening our work in both studios, with the necessary emphasis on thoughtful self-critique and aesthetic rigor. This program will be important and challenging for students in the arts and humanities who think of artists as aesthetic and conceptual problem solvers, seeking new puzzles, forms and possibilities for constructing meaning using words, the book and small-scale sculptural forms. As a first-year program, this program provides specific support for students at the beginning of their Evergreen careers. | Steven Hendricks Jean Mandeberg | Freshmen FR | Fall | ||||
|
Lisa Sweet
Signature Required:
Winter
|
Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 13 Fall | W 14Winter | It is a commonplace: ' '. In visual art, 'the rules' are the historical traditions and conventions of an artistic medium. Breaking 'the rules' means intelligently and strategically bending and breaking with those traditions and conventions in innovative ways. The history, craft and technique of intaglio printmaking provide rich arenas in which to explore tradition and innovations in 21st century image-making. The fall quarter of the program will focus intensively on seminar readings exploring the history and traditions of print and printmaking: it's early alliances with religious devotion, the Protestant Reformation, the scientific revolution. While focusing on printmaking history, students will practice traditional intaglio techniques including engraving, line etching and aquatint, through responses to weekly studio assignments. In winter quarter, students will have the opportunity to develop a series of thematically-linked images that implement and/or disrupt (break) the 'rules' of printmaking conventions. The winter quarter will emphasize research and artistic practice, image-making as a form of intellectual inquiry, and the development of professional presentation skills for articulating one's artistic work. Printmaking is a remarkably rich and flexible medium with strong political roots. It is also technically rigorous. Students who are comfortable making detailed technical notes, following sequential processes, observing safety protocols, and withstanding the physical demands of artistic work, are encouraged to enroll. ; Students who are new to studio art, or have considerable experience with other artistic practices are welcome. Drawing skills are optional. | Lisa Sweet | Sophomore SO Junior JR Senior SR | Fall | ||||
|
Suzanne Simons and Ann Storey
|
Program | SO–SRSophomore - Senior | 8 | 08 | Evening | F 13 Fall | W 14Winter | This two-quarter program will examine a thousand-year period of Christian and Islamic art, art history, poetry, and mysticism from roughly the 4th through 14th centuries. This was a singular period of creativity, spirituality, and change. We will study the motivating ideas and issues of the age: the dynamic influence of migrating tribal cultures on inherited classical traditions, the problem of iconoclasm, and Neoplatonic philosophy expressed through the visions of the mystics. The idea that both mystic and artist were "seers"—seeing beyond the physical into the transcendent and metaphysical—impelled them into visionary realms. We will learn about the mysticism of Hildegard of Bingen, Meister Eckhart, Sufi poets, and other charismatic figures as we see their visions expressed in superb mosaics, illuminated manuscripts, stained glass, sculpture, calligraphy, sacred geometry, miniature painting, and sacred architecture of European Christendom and Islamic empires stretching from Spain to Central Asia. Sacred music of the era will be experienced through recordings and a possible field trip. Art workshops will enable students to move from theory to practice. | Suzanne Simons Ann Storey | Tue Thu | Sophomore SO Junior JR Senior SR | Fall | |||
|
Julia Zay and Amjad Faur
|
Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | F 13 Fall | W 14Winter | This is an art foundations program invested in opening up the dense histories and meanings of photographic images in their many forms, from still to moving and back again--and the unsettled places between. We explore what it means both to know and to make an image– photographic, moving, and time-based. We will pay equal attention to the history, theory and practice of the photographic image, both still and moving, in the context of visual studies--a field that yokes a broad study of the visual arts with social and cultural history and theory--art history, film/cinema history, and philosophy. Through a critical engagement with still and moving photographic images as well as related forms of visual art, we will map a broad contextual territory and challenge received notions of the boundaries between forms, genres, and mediums.Photography can never be thought of as simply a medium, technology or practice but a convergence of material, history, culture and power. In the Fall, we will start with the unfolding of the Western enlightenment, from the 16th to the 19th century, when optical technologies radically reorganized the senses and methods of knowledge production, posing new questions about temporal, spatial and visual relationships to artists and scientists alike. We will then move more deeply into the 19th and first half of the 20th century, when photography emerged into an art world dominated by painting, a visual culture organized around print technologies, and societies in the throes of rapid industrialization. Photography initially emerged not out of art contexts but out of the institutions of science and industry, so we will consider, in particular, the ways it was used to produce social categories, shaping dominant discourses of gender, class and criminality. For example, we’ll look at the language of portraiture so central to the emergence of both a middle class and the language of criminal and medical photography. Our materials and techniques will first be limited to those from the 19th century (proto-photography, early processes, hand-built cameras). In winter, we move from the 19th to the long 20th century and the emergence of cinema. We will look at the way early cinema was organized around a fascination with duration, spectacle, and experimentation and on the relationship between photography and cinema, stillness and movement. We will continue to work in still photography, broadening our range of techniques, and add a small amount of 16mm filmmaking to the mix as we explore the larger social and historical contexts and philosophical questions surrounding the relationship between still and moving photographic images. In our creative and intellectual work, we’ll ask many questions about the phenomenon, concept and experience of time--for example, how is a four minute exposure in a still photograph both similar to and different from a four minute continuous shot of film or video of the same subject?In all our work we will focus on building essential skills in practices of attention--learning how to slow down our modes of seeing, experiencing and working. In our photographic practice, this will mean moving away from the pursuit of “finished” images and towards experimental processes and conceptual problem solving. In our work with texts and images, this will mean developing our ability to read and view closely and write with precision and patience. Class sessions will include lectures/screenings, workshops, seminar, critical reading and writing, and critique. In addition to working individually, students can expect to collaborate regularly with their peers on a variety of assignments and larger projects. All along the way we will intentionally examine how our investments in collaboration animate our intellectual and creative work. We will spend significant time in critique to help each other see, describe, evaluate and improve our creative and critical work. | Julia Zay Amjad Faur | Freshmen FR Sophomore SO | Fall | ||||
|
Sarah Williams
Signature Required:
Fall Winter Spring
|
SOS | SO–SRSophomore - Senior | 12 | 12 | Day | F 13 Fall | W 14Winter | S 14Spring | This year-long program provides an opportunity for students to work on a large, highly collaborative project that requires a multiplicity of skills and knowledge: documenting an Olympian patron of the arts. Students will form a learning community in order to work collectively and collaboratively on a feature-length documentary film about philanthropy and patronage of the arts. Each student will take on specific roles related to editing, marketing/PR, soundtrack composition, and interviewing/researching. However, in order to build new skills, all students will collaborate on every aspect of the project. Students will work together, share research results, and participate in regular critiques with faculty and staff. Collaborative work will include field trips, audio recording, cinematography, marketing, interviewing, and editing. Faculty and staff will support student work through regular meetings, critiques and problem-solving discussions. The peer learning community will collaboratively determine the direction and success of this project. Academic work for each quarter will include weekly meetings with the continuing student director/producer and bi-monthly meetings with faculty and staff in Media as well as Development and Alumni Programs. In addition, students will maintain an academic blog to document the progress of the on-going project . For Fall and Winter Quarters the students will produce a work-in-progress screening. In the spring, the students will organize a campus-wide screening and prepare the film for festival submission. This program is ideal for responsible, enthusiastic and self-motivated students with an interest in developing and reflecting on a substantial project over a substantial period of time. | Sarah Williams | Sophomore SO Junior JR Senior SR | Fall | |||
|
Evan Blackwell
Signature Required:
Spring
|
SOS | JR–SRJunior - Senior | 16 | 16 | Day | S 14Spring | This program is for intermediate to advanced students who are ready for intensive full-time work in theory and practice in the visual arts. Students will design their own projects, complete visual research and write papers appropriate to their topics, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding weekly critiques. The program will provide opportunities for independent work while providing a learning community of students with similar interests. Beyond art making and visual research, this program will also provide opportunities for professional development for students who are thinking of graduate school, professional work in the visual arts, visual arts internships, or arts education at any level. | visual arts, museum studies, arts administration, public art, arts organizations, art education and design. | Evan Blackwell | Junior JR Senior SR | Spring | ||||
|
Joe Feddersen
Signature Required:
Fall
|
SOS | JR–SRJunior - Senior | 16 | 16 | Day | F 13 Fall | This is an intensive full-time, one-quarter program designed for students ready for intermediate to advanced work in theory and practice in the visual arts. Students should be ready to work independently in the studio and in their research, but must also be interested in the learning community of a classroom. The academic content, lectures, and instruction are collaborations between the faculty and the students enrolled. Credits are earned through your project and research related to your project and program activities such as seminars, the , field trips, and research presentations. Students will work intensively on their proposed projects. They will produce a solid body of work, write papers, present their research to the program, work intensively in the studio together, produce a solid body of work, and participate in critiques. They should expect to work 20 - 30 hours per week outside of class meetings. | Joe Feddersen | Junior JR Senior SR | Fall | |||||
|
Ulrike Krotscheck
|
Program | FR–SOFreshmen - Sophomore | 16 | 16 | Day | F 13 Fall | W 14Winter | S 14Spring | Why, after 2,000 years of historical perspective, do we still find meaning in the works of Homer and Aristotle, Julius Caesar and Virgil? What can we learn from Athenian experiments in democracy or the formation and fall of the Roman Empire, as an alternative to republicanism? Why are ancient Greek and Roman images and ideas still represented in so much of our contemporary culture? The principles of classical literature, architecture, philosophy, theater and politics still permeate our society in this increasingly multicultural and globalized world. In these three quarters, we will explore the significant and unassailable ways in which ancient Greece and Rome have influenced our understanding of the world and many more tangible aspects of our contemporary culture.Each quarter will focus on a slightly different variation on our theme, and students may either stay in the program for the duration of the year, or join according to their interests in any one quarter. Continuing students over the three quarters will help organize and deliver content for new students, cementing the learning that they have already accomplished by sharing their knowledge with newcomers. On the other hand, new students in the winter and spring will actively participate in the formation of learning communities in which the faculty is not the sole provider of content. This program will support first year and sophomore students in their transition to college, while also providing a solid foundation in the origin of western civilization. It will be an intensive reading- and writing-based experience that will prepare students for upper-level work in the humanities and social sciences. Program activities will also include work on the Academic Statement Initiative.The three quarters will be organized as follows: In the fall, we will begin by learning the history of the ancient world. We will explore how this narrative has been handed down to us through historiography and archaeology, and what information and misinformation we can garner from it. We will study archaeological sites, art and architecture, and interrogate the uses of these visual canons in our own surroundings. In the winter, we will explore the influence of classics in modern films of every genre, from to and ?. We will read and analyze the ancient myths and epics that form the basis for the film interpretations, and discuss both the universal and the not-so-applicable lessons, themes and morals contained in the modern adaptations. The ancient Mediterranean was the stage for the earliest attempts in Western democracy and republicanism. Some of these experiments were more successful; some were less successful. We will examine these political innovations and compare them to our own contemporary systems of government. We will investigate the rights of citizens and the selection of who is allowed to participate in the political process and why. We will discuss the roles (or lack thereof) of foreigners, women and slaves. We'll read Aristotle, Plato and Cicero to understand ancient political ideologies and realities and to analyze how these have helped us build the foundation of our modern political system. | Ulrike Krotscheck | Mon Wed Thu Fri | Freshmen FR Sophomore SO | Fall | ||
|
Naima Lowe
Signature Required:
Fall Winter Spring
|
Program | SO–SRSophomore - Senior | V | V | Day, Evening and Weekend | F 13 Fall | W 14Winter | S 14Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. Please go to the catalog view for specific information about each option. | Naima Lowe | Sophomore SO Junior JR Senior SR | Fall | |||
|
Naima Lowe
Signature Required:
Fall Winter Spring
|
Research | SO–SRSophomore - Senior | V | V | Day, Evening and Weekend | F 13 Fall | W 14Winter | S 14Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. | Naima Lowe | Sophomore SO Junior JR Senior SR | Fall |