Major

Art History option: Twelve courses including 101, 102, 108; one course in studio (any level); one course in Ancient Art, either 202 OR either ARCH 120, 130, 210, 221, 222, or 223, or approved course from a Dickinson study abroard program or partner program; one course in Renaissance Art, either 300 or 301; one course above the 100-level in Asian art; 313 or 314; 407; and three electives in art history. Art history majors are also encouraged to consider internships or independent studies, as well as student/faculty collaborative research, directed towards future interests within the discipline; and to take German, French, Italian, Chinese or Japanese, if they are considering graduate work in Art History.

Studio Art option: Twelve courses including 122; either 230 or 322; 101; 102; one art history course at the upper-level; 410 and 411; and five additional studio art electives, including at least one other course at the advanced level and at least one course focused on three-dimensional art.  An additional art history class (at any level) can be substituted for one of the five studio art electives.  Seniors concentrating in studio art are required to make a public presentation on their thesis work in their final semester. Students electing this option are encouraged to take more studio art and art history courses than required. 

Minor

101 and 102 plus four additional courses in the appropriate discipline (art history or studio), subject to the minor advisor's approval, that suit the particular interests of the student.

Suggested curricular flow through the major

The A&AH major was designed with the hope that all of our students would spend a year or semester studying abroad during their junior year. As a result, we developed the curriculum so that a student who did spend a year abroad could complete all the requirements for the major, as long as she or he followed a few guidelines.

The guidelines are written for the entering student who knows he or she wants to major in A&AH. Rather than specify the courses that you “must” have in a given semester, the following are general guidelines regarding courses that we suggest you take during each year. You should think of these guidelines as giving you a fast track into the major – this provides maximum flexibility in your junior and senior year. To study abroad in art history for a full year, the Department requires students to have had at least four art history courses consisting of two intros and two courses at the upper level (one must be a 300-level course). One intro and three courses at the upper level are also acceptable. For one semester, a minimum of three classes, including one intro and two at the upper level. To study abroad in studio art for a full year, three studio and one art history courses are required; for a semester, two studio courses and one art history.

For information regarding the suggested guidelines, please feel free to contact an A&AH faculty member. Students not following these guidelines may still be able to study for a year abroad and still complete the major, but might face a more demanding senior year.

Courses

Introductory level courses should be taken first for both art history and studio tracks. 101, 102, 122, 123. 200-level courses without pre-requisites may also be taken at the initial stages of the major.

200 level courses normally follow, with 207 in art history being offered only during the spring semesters. Ideally, 207 should be taken prior to 407 (senior seminar). 300-level courses, however, may also follow directly from 100-level introductory courses.

407 and 410 (art history and studio senior seminars), are taken in the fall semester of the senior year.

Senior Seminars

One especially challenging part of the major are the senior seminars in art history and studio art. They involve an integrated, professionally-oriented experience wherein students in art history curate a formal exhibition in The Trout Gallery accompanied by a published, scholarly catalogue containing original research and essays. Studio majors undertake an analogous exhibition in The Trout Gallery wherein the works are curated from their own art produced during the seminar. They also write artist-statements for a published catalogue. For further information, see the A&AH web site.

For more explicit advising guidelines, contact an A&AH faculty member or see “Advising Guidelines” on the A&AH web site.

Independent study and independent research

Independent study courses are to be set up through consultation with an Art and Art History department advisor and instructor of the course. A proposal of the topic, and program of work must be submitted to the instructor for approval.

Honors

Department of Art & Art History majors may seek Honors, the highest academic award a department can bestow. Honors in the major are by the invitation of Department of Art and Art History faculty following self-nomination by February of the junior year. Students undertake a year-long independent study with an advisor, and will be expected to present their work to a Dickinson audience at the end of the senior year.

Internships

Through The Trout Gallery and other regional museums, galleries, art associations, commercial galleries, and architectural firms, the Department of Art & Art History offers internships to advanced students. In the past, art history majors have undertaken museum internships at The Metropolitan Museum, the Springfield (MA) Museum of Fine Arts, and the Philadelphia Museum of Art, while studio and art history majors have interned at commercial galleries in Philadelphia, Harrisburg, and New York City; these internships have included conservation and restoration work. Consult the departmental internship adviser and the college internship coordinator.

Opportunities for off-campus study

Students in Art and Art History can pursue study on Dickinson programs in Toulouse, Norwich, Bremen, and Bologna, and can also undertake semester and full-year options at Dickinson-approved programs in Florence (Syracuse University, SACI) and Rome (Temple University).

Courses

The following course is offered in Bologna:

132 The Arts of Italy
Offered in Bologna, Italy. An introduction to the major visual traditions of the Italian peninsula from antiquity to the end of the 18th century, combined with the basic art historical methodologies necessary to their understanding. Focus will be on the relationship of visual materials to their intellectual, social, and religious underpinnings, with special emphasis on the artistic traditions and monuments of Bologna. Lectures, discussion, and site visits provide the opportunity to understand artistic production in its larger cultural context. In addition to regular class meetings for lecture and discussion, required group excursions in and around Bologna will be scheduled occasionally on Fridays or Saturdays.

The following courses are offered in Toulouse Summer Session:

261 Architecture and the Figure
France Summer Session. Drawing from the architecture of southwestern France with an emphasis on the figure and its role in establishing scale, movement and narrative.
Prerequisite: 122 or the equivalent, or permission of the instructor.

262 Painting 'en plein air'
France Summer Session. A second-level painting course concentrating on the concepts and practice of painting in the landscape. We will deal with the use of color, space, light and interpretive problems of working on site.
Prerequisite: 122 and 227 or the equivalent, or permission of the instructor.

Art History Courses

101 An Introduction to the History of Art
This course is a critical survey of western art beginning with the Ancient Near East (approximately 4000 B.C.) through the Gothic period in Europe (early 1300s). Emphasis will be placed on the analysis of style, subject-matter, and function within an historical context, and especially on the student's ability to develop skills in visual analysis. Developing appropriate vocabularies with which to discuss and analyze works of art and imagery will also be stressed, along with learning to evaluate scholarly interpretations of them.

102 An Introduction to the History of Art
This course surveys art of the European renaissance through the contemporary period. Art will be examined within the historical context in which it was produced, with attention to contemporary social, political, religious, and intellectual movements. Students will examine the meaning and function of art within the different historical periods. In addition, students will learn to analyze and identify different artistic styles.

108 Arts of East Asia
This course introduces students to a selection of objects and sites that elicit new modes of cultural perception and insight into the artistic cultures of China, Korea, and Japan. Loosely arranged in a chronological order, each week is devoted to in-depth examination of a different type of object, medium, and format. The diverse mediums (sculpture, ceramics, metalwork, lacquer, prints, painting, calligraphy, photography, performance, and architecture) and the long historical span covered in class will chart how culture traveled within East Asia, and later, globally, as well as each culture’s distinctive methods of adaptation over time. Major themes include the relationship between artistic production and sociopolitical and socioeconomic development, cultural exchange, aesthetics, impact of religion, power and authority, gender, and issues of modernity. Lectures are supplemented by viewing sessions in the Trout Gallery.

202 Art History & Ancient Art
This course will examine major monuments in the history of ancient Greek and Roman art and architecture from the variety of interpretive perspectives with which they have been addressed in the scholarly literature. Students will study and analyze art-historical "readings" of these monuments and compare the strengths and weaknesses of the authors' arguments in terms of methodological approach and use of both textual and archaeological evidence. In addition, the authors' cultural assumptions, interpretive premises, and ideological goals (if any) will also be addressed in attempting to understand how these works of art have acquired meaning over time and what constitutes that meaning.
Offered every other year.

204 American Art
This course begins with North American imagery prior to European contact and extends through modernism in the mid-twentieth century. Within this chronological sweep, we address a variety of issues relevant to the development of American art, including the birth of consumer culture, the rise of nationalism, the impact of urbanization and the effects of transnational exchange. We look at a range of media - especially painting, sculpture, prints and photography - across genres such as portraiture, landscape and still life. Students can expect to leave the course with a more complex understanding of American identity and cultural politics, while also developing crucial skills in critical reading, writing and visual analysis.
Prerequisite: 101 or 102, AMST majors, or permission of the instructor.

205 Topics in Art History
An intermediate-level study of selected topics in the history of art and architecture.
Prerequisites: prerequisites as appropriate to topic.

206 Museum Studies
Introduces students to the history, role, nature, and administration of museums. It examines the emergence and development of museums and the political, social, and ethical issues that they face. Case studies include: government funding of the arts, the lure and trap of the blockbuster, T-Rex "Sue", the Nazi Entartete Kunst exhibition, the Enola Gay exhibition, war memorials, the Holocaust Museum, public sculpture, conservation, museum architecture, auction houses, and the repatriation of cultural property. This course is open to all students and is especially relevant to those studying the fine arts, anthropology, archaeology, history, American studies, and public policy.
Offered every two years.

207 Criticism and Theory in the Arts
An introduction to critical strategies in and theoretical approaches to the visual arts from Plato through Postmodernism. Particular emphasis is placed on close analysis and discussion of texts. The course addresses issues of historiography, critical theory, and contemporary art criticism.
Prerequisite: 101 or 102 or permission of the instructor.

209 The Japanese Woodblock Print
This course provides a thorough introduction to the woodblock print –Japan’s most celebrated artistic medium—from its emergence in the mid-17th century to the modern era. Technical developments, major genres, and master designers are explored within the context of the print’s relationship to the urban culture of early modern and modern Japan. Topics including censorship, theatricality, the representation of war, nationalism, and Japonisme. Special emphasis is placed on an examination of habits of pictorial representation and protocols of viewing unique to the Japanese print medium. Lectures are supplemented by viewing sessions in the Trout Gallery.

212 Michelangelo-Man & Myth
In this course, we will explore the figure and art of Michelangelo from a historiographic and critical perspective. Understanding his role as an artist and the effect of his art on his contemporaries and subsequent generations of artists, critics, and scholars through our own era will be a primary goal. Readings will be drawn from a variety of primary and secondary sources, and will include writings by Michelangelo himself, critical and theoretical commentaries, historical narratives, and art-historical interpretations. Conflicts within the scholarly community about how we might understand and reconstruct his life will also be addressed, as well as how the idea of the creative process was constructed and enacted during the Renaissance in Italy.
Prerequisite: 101 or 102, or permission of instructor.

213 Gothic Pilgrimage
This course considers the visual arts of the late Gothic era in the major European cities, courts, and religious centers as seen through the eyes of a pilgrim c. 1400 en route from Hereford to Rome (along the via Francigena), Rome to Jerusalem, and back to Hereford (along the banking trade routes via Cologne). The sites selected trace well-known routes that pilgrims followed to the Holy Land and the objects and monuments they encountered: e.g. the city itself, principal sacred and civic structures, altarpieces, reliquaries, and tombs of saints and rulers. Readings and discussions will examine medieval notions of pilgrimage and its role in late medieval society, with a focus on the rituals and objects associated with death, burial, afterlife, and commemoration. Each object will be considered within the broader fabric of its surroundings, paying particular attention to the rituals and physical context associated with the object and how it would have been experienced by a pilgrim.

215 Seventeenth-Century Dutch and Flemish Art
This course examines Seventeenth-Century Dutch and Flemish art with particular emphasis on paintings, drawings, and prints. Artists including, Rubens, Rembrandt, Vermeer, Haals, Cuyp, and van Goyen, among others will be studied within the cultural, intellectual, and political contexts in which they worked and within which their art was understood. Particular issues pertaining to religious conflict, environmental transformations, and economic conditions (e.g., patronage and the rise of a capitalist market) will also be studied as integral to the making and viewing of art during this period. Readings will be drawn from diverse scholarly interpretations in the art-historical literature as well as relevant primary sources. A trip to the National Gallery of Art in Washington D.C. where students will deliver presentations on specific works of art in the permanent collection, is also an important part of the course.
Prerequisite: ARTH 102 or permission of instructor.

217 Modern and Contemporary Architecture
This course examines the character and development of Modern and Contemporary architecture, with emphasis on the following stylistic periods: Art Nouveau, Arts and Crafts, International Style, Post-Modernism, and Deconstruction. Major architects to be studied include Wright, Gropius, Le Corbusier, Mies, Johnson, Venturi, Gehry, Koolhaas, Gang, and Hadid. Students will also examine 20th and 21st-century urban planning. Through discussions, lectures, and extensive readings primary and secondary sources, students will become familiar with notable architectural styles of the 20th and early 21st centuries; understand the contemporary issues shaping the development of such styles, including politics, social movements, religion, philosophy, and developments in technology; gain the ability to discuss and write about architecture; and establish a critical framework and approach for analyzing architectural history. A field trip to Fallingwater in Western PA will also enhance their understanding of architectural design, construction, and legacy.

219 Gender and Sexuality in Modern American Art
Gender roles and sexual identity are central to the transformations that define what it means to be “modern” in America between the late nineteenth- and mid-twentieth centuries. Artists across a range of media, including painting, sculpture, photography and printmaking, have engaged the ever-changing boundaries of male and female, straight and gay. They have taken up these boundaries in profound and ordinary ways, both in conscious and unintentional ways. Drawing upon recent scholarship in American art, this course analyzes the shifts in the work of artists from the lesser-known nineteenth-century gender-bending printmaker Ellen Day Hale to the visual culture surrounding the notorious Oscar Wilde and, in the twentieth century, the sexual politics of such famous artist couples as Georgia O’Keeffe and Alfred Stieglitz, Lee Krasner and Jackson Pollock, Jasper Johns and Robert Rauschenberg.
Prerequisites: 102 or WGST 102 or AMST 102 or permission of instructor.

252 Philosophy of Art
The discipline of aesthetics is primarily concerned with philosophical questions about art and beauty. This course will examine classic and contemporary Western discussions of such questions as, What is art? How can we determine what a work of art means? Are beauty and other aesthetic qualities subjective or objective? How should the quality of a work of art be assessed? Is there a general way to describe the creative process? What are the driving forces in the unfolding of art history? We will encounter such giants of the Western intellectual tradition as Plato, Aristotle, Hume, Kant, and Hegel, and also such contemporary figures as Arthur Danto, Richard Wollheim, and Kendall Walton.
Prerequisites: one previous course in art history or philosophy, or permission of the instructor. This course is cross-listed as PHIL 252.

300 Italian Renaissance Art 1250-1450
A survey of painting, sculpture, and architecture in Italy from approximately 1250 to 1450. The works of Giotto, Pisano, Donatello, Ghiberti, Brunelleschi, and Massacio, among others, will be addressed. Issues of style, patronage, and function will be considered within the political and cultural contexts of the 13th through 15th centuries. Critical and theoretical writings of the period will also be discussed.
Prerequisite: 101 and 102 or permission of the instructor.

301 Italian Renaissance Art 1450-1563
A survey of painting, sculpture, and architecture in Italy from 1450 through 1580. The works of Botticelli, Leonardo, Raphael, Michelangelo, Bramente, and Titian, among others, will be addressed. Issues of style, patronage, and function will be considered within the political and cultural contexts of the 15th and the 16th centuries. Critical and theoretical writings of the period will also be discussed.
Prerequisite: 101 and 102 or permission of the instructor.

305 Topics on Modern Design in East Asia
Traditional Chinese and Japanese art and design served as an important source of inspiration for European modernism. But what happened to art and design within China and Japan during the modern period? Despite China’s traditional stronghold in modular design and Japan’s current prestige in design culture, the two countries faced incredible challenges during the late 19th and early 20th century as they struggled with their own cultures’ pasts and the modern concept of art and design. This class offers a multidisciplinary approach to the study of modern East Asian art and examines how the concept of design emerged and developed in Japan and China in relation to both fine arts and industry in a broad cross-cultural nexus. While design connected modern China and Japan in ways unprecedented, the two cultures also adopted different design strategies defined by their respective cultural and historical conditions. The class is discussion based and is supplemented by a fieldtrip to Washington D.C.
Prerequisite: One art history course or two 200-level EASN courses or permission of instructor.

313 Modern Art
This course surveys key artistic movements and styles in a period of roughly one hundred years, beginning with Realism in the 1840s France and ending with Abstract Express-ionism in 1950s America. Much of the course focuses on painting, though discussions of architecture, design, sculpture and photography also play an important role. We begin with the question of what modernism is: When did it begin? What makes a work of art "modern"? How is modernism different from what preceded it? Students learn to recognize, understand and discuss the defining features of modernism in its major manifestations, while also developing an understanding of themes such as the role of African art in modernism, the changing dynamics between the fine arts and popular culture, the role of technology as an influence on art, and the place of particular critics, galleries, and museums in shaping the discourses of modernism. Individual research projects give students the chance to explore a specific artist, style or theme in depth, while a field trip to National Gallery of Art and the Hirshhorn Museum in Washington D.C. provide an opportunity to see significant works of modern art firsthand. Assigned reading incorporate both secondary sources as well as artist's manifestos and aesthetic philosophies as primary source text.
Prerequisite: 101 and 102 or permission of the instructor.

314 Contemporary Art
A survey of major artists and movements from post-World War II to the present, beginning with Pop art through Postmodernism and global art today. The course will also incorporate key critical and theoretical writings from the period for discussion.
Prerequisite: 101 and 102 or permission of the instructor.

375 Beauty
Perhaps no term is as variously interpreted or as hard to define as "beauty." At one time, beauty was treated as among the ultimate values, along with goodness, truth, and justice. But in the last century or so it has been devalued, equated with prettiness or meaningless ornamentation. It has been quite out of fashion in art since the late nineteenth century. But one cannot understand much of the art of the Western tradition without understanding it as the attempt to make beautiful things, and without understanding what that goal meant in the cultures in which it had currency. And of course even now most people would not want to be without dimensions of beauty in their lives. We will look both at classic and contemporary attempts to answer such questions, and try to heighten our own appreciation for the beauty in the arts and in the world.
Prerequisites: one previous course in art history or philosophy, or permission of the instructor. This course is cross-listed as PHIL 275.

391 Studies in Art History
Studies in selected topics of the history of art and architecture. The content of each course will be altered periodically.
Prerequisite: 101 and 102 or permission of the instructor.

407 Art History Senior Seminar
An intensive seminar wherein students conduct original research on selected works of art as part of curating a formal, public exhibition in The Trout Gallery. Research is directed towards interpretive essays that go through multiple writing revisions, resulting in a publishedexhibition catalogue edited by the seminar faculty member and Trout Gallery Staff, and designed by Dickinson College Design Services Staff. Students work collaboratively as curators and contributors to the catalogue, and undertake a professional-level experience, most often reserved for graduate study or museum professionals. All of the senior majors' art historical knowledge and critical skills will be put to use in the Senior Seminar with the goal of further refining their ability to conduct advanced research and formal, polished writing.
Prerequisite: Senior Art History majors only.

Studio Art Courses

122 Fundamentals of Composition and Drawing
Working from observation and using a variety of media, this basic studio drawing course will explore issues common to both representational and non-representational art. This course serves as the foundation to upper-level two-dimensional offerings.

123 Fundamentals of Sculpture
A studio course covering basic elements of three-dimensional composition and sculpture. Students will construct sculptures examining a range of media and fabrication techniques.

130 Art and Sustainability
This course promotes themes of sustainability and social engagement as the catalyst for artmaking. Primarily investigated through the design and construction of sculptures, installation art or other creative acts, students will explore creative practices exemplified by land art, social practice art, collaborative art, and social sculpture, among others.

160 Special Topics in Studio
Selected techniques and concepts in studio, taught at the introductory level. The content of each course will be altered periodically.

221 Introduction to Photography
An entry-level course in black-and-white photography emphasizing theory, history, and practice. Students learn how to create images, use cameras, develop film and make prints using conventional darkroom processes. Students will also be introduced to Photoshop as well as the basics of scanning and digital printing.

222 Drawing
A studio course to explore further, those issues covered in 122, but focusing on the creation of light and space. Landscape, architecture, still-life and the model will serve as subject matter. A large variety of media will be used, including pastel, monotype, ink, acrylic paint and charcoal.
Prerequisite: 122 or permission of the instructor.

223 Digital Studio 1: Image Manipulation and Experimental Processes
This course will focus on 2-dimensional studio processes in the digital environment. It will also explore how digital processes can be used in conjunction with traditional processes like drawing, painting, and printmaking. The initial goal of this class will be to gain a thorough understanding of Adobe Photoshop for image manipulation. As the semester progresses, the class will explore uses of digital technology in contemporary art practice, including experimental processes.
*Please note: this is not a photography course, some photo related processes will be part of the class, but those students looking for a more traditional approach to photography should consider the 221 Intro to Photography class. Prerequisite: 122, 221, or permission of the instructor.

224 Wheelwork Ceramics
A studio course exploring expressive possibilities offered by the potters wheel. Students will examine both utilitarian and sculptural aspects of the medium. A variety of clays, glazes and firing approaches will be examined.

226 Ceramic Sculpture
This introductory course examines the principal attributes of sculpture with a focus on clay as the primary fabrication material. Students will examine a range of firing, glazing, and construction techniques.
Satisfies 3D requirement for the studio art major.

227 Fundamentals of Painting
A basic studio course exploring the techniques, practices and history of painting and theories of color. Working from observation, subject matter will range from still-life and landscape to architecture and the figure.
Prerequisite: 122 or permission of the instructor.

228 Printmaking Survey
A studio course in which students will gain a working knowledge in each of the three major areas of printmaking: intaglio, lithography, and relief-printing.
Prerequisite: 122 or permission of the instructor.

230 Life Drawing
The course will be devoted to working from the human form during which the students will be expected to develop a sense of two-dimensional line and three-dimensional illusionistic form through the use of such graphic media as pen and ink, pencil, charcoal, Conté crayon, etc.
Prerequisite: 122 or permission of the instructor.

235 Post Studio Projects
The course provides an introduction to a variety of art making processes and philosophies outside a traditional studio context. Projects focus on individual and collaborative experiences that are not media specific; students create site-specific interventions, text-based installations, and performances, among other explorations, to consider critical and conceptual approaches to art.
Prerequisite: One studio course or permission of instructor.

260 Special Topics in Studio Art
Selected techniques and concepts in studio, taught at the introductory to intermediate level. The content of each course will be altered periodically.
Prerequisites: depending on topic or permission of the instructor.

320 Advanced Photography & Imaging
An advanced course enabling students to explore advanced photo-based techniques, experimental problems, and aspects of contemporary and historical practice in photographic-based image making.
Prerequisite: 221, or permission of the instructor.

321 Advanced Drawing
A studio course to explore further, those issues covered in 122, but focusing on the creation of light and space. Landscape, architecture, still-life and the model will serve as subject matter. A large variety of media will be used, including pastel, monotype, ink, acrylic paint and charcoal.
Prerequisite: 122 or permission of the instructor.

322 Digital Studio 2: Time-Based Process
This course will allow students to explore time-based approaches to making art with a focus on the moving image and sound. Topics will include short film, animation, experimental film, and installation art. This course will be beneficial to students working at an advanced level and are interested in the possibilities time-based mediums can bring to their process. The work of artists and media specific art trends, from the 20th century to the present, will provide a working model for the course. Process and making will be the main focus, and students will be encouraged to consider the relationship between digital processes and traditional mediums such as drawing and sculpture. Students will gain a thorough understanding of editing in Apple’s Final Cut Pro.
Prerequisites: ARTH 122 and one studio course at the 200-level or higher, or permission of instructor.

323 Advanced Sculpture
Various sculpture media and studio processes will be explored including welding, casting, mold making, installation art, and expanded media as appropriate. An emphasis will be placed on technical and conceptual development to realize individual creative expressions.
Prerequisite: 123.

326 Intaglio Printmaking
An in-depth exploration of etching, engraving, aquatint and other techniques of drawing on, and printing from metal plates. Photo-etching and working in color will also be covered.
Prerequisite: 122 or permission of the instructor.

327 Advanced Painting
A second-level studio painting course concentrating on the figure, and covering advanced techniques, alternative materials, and aspects of contemporary and historical practice.
Prerequisite: 227.

330 Advanced Life Drawing
Advanced problems and issues in drawing the human form.
Prerequisite: 230 or permission of the instructor.

335 Lithography
A studio course exploring the art, techniques, and history of drawing and printing from the stone. Metal plate, color, and photo-lithography will also be explored.
Prerequisite: 122 or permission of the instructor.

360 Special Advanced Topics in Studio Art
Selected advanced studio techniques and concepts. The content of each course will be altered periodically.
Prerequisites: two studio art courses at the 100- or 200-level, or permission of the instructor.

410 Senior Studio Seminar, Part 1
The first in a two-course sequence required for senior studio art majors. Critiques of students' work will include examination of timely topics in the visual arts and the relationship of the artist to society. Critiques, selected critical readings, museum visits and visiting artists will provide the basis for discussion.
Prerequisite: Majors only or permission of instructor. Co-requisite: One studio course.

411 Senior Studio, Part 2
Second half of the required, yearlong capstone for senior studio art majors. This course will continue with the critique-based model of independent studio practice as established in the first semester. The main focus of this course will be completing a fully developed body of thesis work for exhibition in the Trout Gallery, and the production of a supporting catalog.
Prerequisite: 410