( ) Year of initial appointment at Binghamton
Bell, Donald, Professor Emeritus, MFA, 1965, Indiana University: Painting, photography, illustration, graphic design. (1968)
Bohary, James, Assistant Professor, BS, 1968, New York University; New York Studio School, 1969; Council Member, National Academy of Design, 1998; Pollock-Krasner Foundation Grant, 1999: Painting, drawing. (1998)
DeMauro, Don, Associate Professor, Chouinard Art Institute, 1956-60, Guggenheim Fellow, 1971: Painting, drawing, printmaking. (1970)
Gonzalez, Ronald, Assistant Professor, BA, 1982, State University of New York at Binghamton; Pollock-Krasner Foundation Grant, 1998 and 1986; Artist-in-Residence, The Corporation of Yaddo, Saratoga Springs, N.Y.: Sculpture-installation. (1999)
Ippolito, Angelo, Professor Emeritus, 1971, Ozenfant School of Fine Arts; 1959, Fulbright Fellow; 1979, Louis Tiffany Foundation Award: Painting, collage, assemblage, sculpture, photography. (1969)
Schwartz, Aubrey, Professor Emeritus, Art Students League, 1950; Guggenheim Fellow 1958-60: Drawing, printmaking. (1969)
Shapiro, David, Associate Professor, 1971, New York Studio School; 1971-73, Prix de Roma: Painting, drawing. (1973)
Sokolowski, Linda, Professor, MFA, 1970, University of Iowa: Drawing, printmaking, painting. (1971)
Stark, James, Associate Professor, BS, 1968, Western Michigan University and Interlochen Arts Academy: Sculpture, assemblage, environmental works, foundry processes. (1970)
Thomson, John, Associate Professor and Chair, MS, 1968, University of Wisconsin: Environmental design, drawing, industrial design. (1975)
The studio program is supported by a generous endowment: the Elsie Benensohn Rosefsky Visiting Artists Series.
The studio program is enhanced by events and activities in the Rosefsky Studio Art Gallery, which presents an ongoing series of exhibitions including visiting artists, alumni artists, BFA candidate solo shows, lectures and seminars.
The studio program is also supported by the Art Student Co-op, a student-organized and operated source for art supplies.
For all beginning and intermediate courses, the quality of work done determines whether the student can repeat a course for further development. The decision for such action is a result of mutual consent of the student, the instructor and the program chair. A repeated course receives credit and fulfills the major requirements.
Transfer students must present a portfolio to the program chair for placement in addition to regular transfer procedures. At that time, the portfolio review committee reserves the right to set a minimum number of credit hours to be completed by the student and may require the student to repeat a course to satisfy requirements for graduation with a studio art major.
Majors in studio art may elect the Pass/Fail grade option in only two studio and/or art history courses.
Art majors and minors must declare a major or minor and choose an appropriate adviser from among the faculty.
All courses used to satisfy departmental requirements must be taken under the normal grading option.
| credits | |
| 1. Three level-one courses from ARTS 111, 121,131, 141, 171 (and 161 for graphic design specialization) | 12 |
| (These courses must be completed prior to registration for ARTS 481, 482, 483, 484, 485, 487, 488) | |
| 2. One art history | 4 |
| 3. One from ARTS 481, 482, 483, 484, 485, 486, 487, 488 | 4 |
| 4. Five studio art electives | 20 |
| TOTAL | 40 |
| credits | |
| 1. Four level-I courses from 111, 131, 141, 171, with 171 required in the first two years | 16 |
| 2. Five elective courses from Level-II studio disciplines by advisement (200-300 level) | 20 |
| 3. Five studio courses, by advisement, in one studio discipline for specialization. | 20 |
| 4. Two art history courses by advisement | 8 |
| 5. ARTS 288 | 4 |
| 6. Seminar in Studio Art (ARTS 496), continuous registration once accepted to BFA program | 1 |
| 7. Senior Exhibition Seminar (ARTS 499) critique and exhibition | 2 |
| TOTAL | 71 |
A minor in studio art consists of a minimum of six courses distributed as follows:
Top1. Beginning, intermediate and advanced level courses in one of these areas of concentration: drawing, painting, sculpture, printmaking, two-dimensional design.
2. An additional introductory level course in an area other than the chosen concentration.
3. Two courses chosen in consultation with a faculty adviser. One of these courses must be at the advanced 300-400 level, and may or may not be in the area of concentration.
STUDIO ART: GRAPHIC DESIGN
The design sequence of ARTS 111, 211, 411, 481 is recommended
for those students who wish to develop a concentration in graphic design.
Additional fine arts courses should be taken as recommended by the design
faculty. If available, one or two studio internships (ARTS 495) in professional
workplaces during the senior year are suggested.
ARTS 111. GRAPHIC DESIGN I
Conceptual, analytical and mechanical means of creating and
reproducing images in value and color on two-dimensional surfaces. Enriches
visual and verbal vocabulary of both art and non-art majors. Techniques
presented include most of those needed and used by graphic designers. Problems
given not applied, but theoretical, suited for the inexperienced as well as
those with experience in other forms of visual arts.
ARTS 211. GRAPHIC DESIGN II
Problems in visual communication involving symbolism,
photography, type and other graphic processes. Continues and builds on concepts
and problems offered in ARTS 111. Other graphic design techniques in latter half
of semester. Prerequisite: ARTS 111.
ARTS 411. GRAPHIC DESIGN III
Primarily for majors; advanced problems in graphic design.
Applied graphic communication problems (book, symbol, layout, etc.); some work
in typography. Introduction to computer graphics. Advanced photo reproduction
methods. Prerequisites: ARTS 111, 211.
ARTS 481. SPECIAL STUDIO PROJECTS: GRAPHIC DESIGN
For art majors, intermediate and advanced students who wish
to extend work in graphic design. Students work independently within classroom
structure. Prerequisites: completion of three required departmental beginning
courses, and introductory and intermediate courses in two-dimensional design;
consent of instructor.
ARTS 486. SPECIAL STUDIO PROJECTS: COMPUTER GRAPHICS
This is a graphic design course in which the medium is
digital. Students develop a basic familiarity and competence with the Macintosh
and the most widely used software for image generation, photo manipulation and
page layout. Prerequisite: ARTS 111 or permission of instructor.
ARTS 482. SPECIAL STUDIO PROJECT: THREE-DIMENSIONAL DESIGN
For art majors and advanced students
who wish to extend work in three-dimensional design. Prerequisites: completion
of three departmental beginning courses, including the introductory course in
three-dimensional design; consent of instructor.
ARTS 131. SCULPTURE I
Basic problems in three-dimensional non-representational form
related to understanding of aesthetic and technical demands of sculptural media
and expression.
ARTS 231. SCULPTURE II
Work from the human figure with armature and plastilene.
Learning the structure of the human form and developing figure images from the
model. Daily critiques. Prerequisite: ARTS 131. Also available to majors without
prerequisite, but with faculty approval.
ARTS 234. SCULPTURE II: DIRECT METAL SCULPTURE
Students progress through the direct metal sculpture
processes: soldering, brazing, oxyacetylene welding and cutting, arc welding,
TIG welding. Faculty consent required. Enrollment limited.
ARTS 331. SCULPTURE II: FIGURE II
Special problems in using the figure as an expressive
vehicle; emphasis on idea, composition and technical development. Prerequisites:
ARTS 131, 231.
ARTS 333. SITE — INSTALLATION — PERFORMANCE
This course of study and practice will investigate the
antecedents, traditions and current productions of site-specific sculpture,
installation and performance works. Beginning from this overview the course will
proceed to team-based development of proposals, estimating, model making,
critique and any examination of the relevant bureaucratic procedures.
Prerequisite: studio art course or permission of instructor.
ARTS 431. ADVANCED SCULPTURE
Problems independently conceived and developed in plastics,
wood, stone or metal. Figurative, non-figurative, foundry techniques,
environmental work. Prerequisites: ARTS 131, 231, 171.
ARTS 434. SCULPTURE FOUNDRY
Provides participants with training through presentation and
practice of art foundry procedures. Emphasis on lost wax or cire perdue method,
with sand mold casting also available. All work cast in bronze. Each student can
expect to complete three or four pieces of moderate dimension. All steps
necessary to cast a piece discussed and practiced; conceptual work and
criticism, wax work, mold making, metallurgy, the burnout and pour, repair,
chasing, patina and bases. Prerequisite: ARTS 131, 231 or consent of instructor.
(Sometimes offered as special summer workshop.)
ARTS 435. SCULPTURE/PAPERMAKING
Emphasis on papermaking method as used for sculpture. Direct
construction and mold making methods will be used. Prerequisites: ARTS 131, 231.
ARTS 483. SPECIAL STUDIO PROJECTS: SCULPTURE
For art majors and advanced students who wish to extend work
in sculpture. Prerequisites: Completion of three departmental beginning courses
and introductory and intermediate courses in sculpture; consent of instructor.
ARTS 141. INTRODUCTION TO PAINTING
Classic problems in painting, concentrating on form, color,
space with related subject matter still life, landscape and figure. Individual
instruction based on student’s experience and needs. Materials and preparation
of canvases. Recommended:
ARTS 171.
ARTS 241. PAINTING II
Structured to more experienced painting student, who is
encouraged to be experimental and search for more personal expression through
painting. Problems in painting: various painting media, including some
examination of historical examples and techniques. Prerequisite:
ARTS 141.
ARTS 341. FIGURE AND PORTRAIT PAINTING
Figurative elements in painting, using various techniques,
media and concepts in relationship to live model, including historical and
contemporary examples. Prerequisites: ARTS 141, 272.
ARTS 441. ADVANCED PAINTING
Exploration and experimentation in painting, on more
individual basis, to develop personal form of expression. Prerequisites: ARTS
141, 241.
ARTS 484. SPECIAL STUDIO PROJECTS: PAINTING
For art majors and advanced students who wish to extend work
in painting. Prerequisites: completion of three required departmental beginning
courses, and introductory and intermediate courses in painting; consent of
instructor.
ARTS 251. PRINTMAKING I: ETCHINGS AND MONOTYPES
Etching involves the activities of drawing and painting on a
metal plate that has been covered with a protective ground. A large part of this
course deals with the making of the print; the traditional techniques of
intaglio are explored. Prerequisite: ARTS 171.
ARTS 351. PRINTMAKING II: ETCHINGS AND MONOTYPES
Emphasis is on the black-and-white image, gathered from
organic sources — the figure, the skeleton, assorted bone and rock formations,
the self, animals in motion. Prerequisite: ARTS 171, 251.
ARTS 352. MONOTYPE
The monotype is a single print pulled from a plate to paper
on which ink or paint has been applied. Each impression remains one-of-a-kind,
unique, because much of the initial image’s pigment has been removed in
succeeding prints. The process is a valuable teaching aid as it encourages the
maker to use the ghost images remaining on the plate for future works.
Prerequisites: ARTS 141 and 171.
ARTS 485. SPECIAL STUDIO PROJECTS: ETCHING
For art majors and advanced students who wish to extend work
in etching, lithography or collograph. Prerequisites: completion of three
departmental beginning courses, and introductory and intermediate courses in
etching; consent of instructor.
ARTS 488. SPECIAL STUDIO PROJECTS: LITHOGRAPHY
An introduction to the print technique of hand lithography
for advanced students of drawing or painting. Prerequisites: ARTS 171, consent
of instructor.
ARTS 171. DRAWING I
Introduction to practice of drawing for serious students.
Drawing as working and thinking: series of open-ended interrelated problems
dealing with seeing, visual language, vocabulary, organization and necessary
technical skills. Basic problems in drawing, intensifying perception and
comprehension of form, space, line, volume, texture, structure, movement,
composition. Instruction in use of various drawing materials and processes as
means of personal investigation, understanding and expression in relation to
aspects of landscape, figure and still life.
ARTS 271. INTERMEDIATE DRAWING
Problems in drawing. Various drawing media: some examination
of historical examples and techniques. Prerequisite: ARTS 171.
ARTS 272. LIFE DRAWING
Drawing from figure (model) in varied media, to develop a
structural understanding of the figure. Using the figure as expressive vehicle.
Prerequisite: ARTS 171.
ARTS 373. MIXED MEDIA TECHNIQUES
Examination of technical means as a method for investigating
descriptive and formal visual questions. Variety of techniques including pastel,
watercolor or acrylic, conté and traditional drawing materials. Prerequisites:
ARTS 171, 272.
ARTS 487. SPECIAL STUDIO PROJECTS: DRAWING
For art majors and advanced students who wish to extend work
in drawing. Prerequisites: completion of three required departmental beginning
courses, and introductory and intermediate courses in drawing; consent of
instructor.
ARTS 489. SPECIAL STUDIO PROJECTS: MIXED MEDIA
An upper-level studio course, the premise of which is
independent work in mixed media. Collage and assemblage is examined, with an
emphasis on presentation and installation.
ARTS 161. BEGINNING PHOTOGRAPHY
Basic techniques of black-and-white photography, camera
operation, film development, printing and presentation. Students are expected to
own or have easy access to a manually adjustable 35mm camera.
ARTS 288. VISUAL ARTISTS: PERSONAL ACCOUNTS
Personal accounts by art faculty and visiting artists of
their contemporaneous visual art production and the background and context these
artists work with. The "artists of the evening" show their own work
and others, presenting a scope of practice, including painting, sculpture,
drawing, printmaking, photography and design, among others.
ARTS 397. INDEPENDENT STUDY
Independent studio work in sculpture, painting, printmaking,
drawing or two-dimensional design.
ARTS 491. PRACTICUM IN COLLEGE TEACHING var. cr.
Independent study by means of teaching a particular course in
art. Various assignments closely directed by instructor, including development
of syllabi and other course materials, construction and reading of examinations,
lecturing and/or discussion leadership, laboratory supervision, academic
counseling of students. May be repeated for total of no more than eight credits.
Credit may not be earned in conjunction with course in which student is
concurrently enrolled. Does not satisfy major or all-college requirements.
Prerequisites: consent of instructor and department. P/F only.
ARTS 495. STUDIO INTERNSHIPS
Provides credit-bearing work experience related to student’s
current studio work and future professional goals. Students work with campus or
outside sponsoring agencies; projects may take the form of advertising, poster
or graphics design, illustration and design for publications, or any type of
studio-related work that complements the student’s academic and career
interests. (Can be repeated.) Prerequisites: advanced standing and permission of
instructor.
ARTS 496. SEMINAR IN STUDIO ART 1 cr.
Individual seminars may include participation, visiting
artists lectures, workshops, demonstrations, exhibition openings, field trips,
written and oral presentations, museum visits and portfolio preparation. Open to
BFA majors only.
ARTS 499. SENIOR EXHIBITION SEMINAR HONORS
The Senior Exhibition Seminar, required
of all BFA degree candidates, consists of faculty-student seminars covering
exhibition preparation, publicity, portfolio presentation, current exhibition
opportunities, the candidate’s exhibition and critique. Prerequisites: senior
standing and BFA faculty approval.
ARTS 511-597 are primarily for students with a BA degree in art and/or those with accumulated graduate credit in studio work earned elsewhere. Graduate students in art history may take studio courses, but they are not credited toward the MA or PhD in art history. Under no circumstances will students be admitted to these courses without presenting a portfolio of work and obtaining consent of departmental chair.
ARTS 511. 2-DIMENSIONAL DESIGN
For advanced students with prior design experience. Applied graphic communication problems: book, symbol, layout,
typography, photo-reproduction methods.
ARTS 531. SCULPTURE
Problems conceptualized independently; developed in plastics,
wood, stone or metal.
ARTS 541. PAINTING
Practical and theoretical problems directed toward individual
development of substantial project in painting.
ARTS 551. PRINTMAKING
Advanced work, with independently selected problems in
printmaking, etching, lithography or woodcut.
ARTS 571. DRAWING
Concept and process problems in drawing. Individual
development of complex related ideas through substantial series of drawings.
ARTS 591. TEACHING PRACTICUM
See ARTS 491.
ARTS 597. INDEPENDENT WORK
Independent studio work in sculpture, painting, printmaking, drawing or
two-dimensional design.
ARTS 511. 2-DIMENSIONAL DESIGN
For advanced students with prior design experience. Applied graphic
communication problems; book, symbol, layout, typography, photoreproduction
methods.
ARTS 531. SCULPTURE
Problems conceptualized independently; developed in plastics, wood,
stone, or metal.
ARTS 541. PAINTING
Practical and theoretical problems directed toward individual development
of substantial project in painting.
ARTS 551. PRINTMAKING
Advanced work, with independently selected problems in printmaking, etching, lithography, or woodcut.
ARTS 571. DRAWING
Concept and process problems in drawing. Individual development of
complex related ideas through substantial series of drawings.
ARTS 591. TEACHING PRACTICUM
See ARTS 491.
ARTS 597. INDEPENDENT WORK
Independent studio work in sculpture, painting, printmaking, drawing,
or two-dimensional design.
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