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Courses
ART 101
2-D Design: Art Techniques and Experimentation (3)
2-D Design is an introduction to a variety of technical,
conceptual and experimental methods used to make
art. Students explore color theory and design principles
using basic drawing, painting and mixed materials. Intuitive,
intellectual and contemplative modes of inquiry provoke
expanded possibilities and approaches to practicing studio
art. Materials fee.
ART 102
Pottery (3)
This studio course explores working in a contemplative
manner to develop fundamental ceramic skills. Traditional
hand-building techniques are utilized to form a variety of
clay vessels. Participants may fashion handmade tools and
brushes to decorate pots. Through slide presentations, field
excursions and readings, students explore the use of vessels
in their cultural setting. Students deepen their artistic
practice by exploring aesthetics and keeping a sketchbook
journal. Materials fee.
ART 105
Art and Consciousness: Mixed Materials and Self-Exploration (3)
Students are challenged to listen and trust their own inner experience as the basis for the creation of authentic artwork. Through material experimentation and investigation into realms of consciousness we create art. Acrylic painting and mixed media are explored. Students discover that art relies upon its sources in the most profound levels of human consciousness for its ability to inspire and transform. Materials fee.
ART 116
Photography I (3)
A foundation in basic photographic techniques, this course introduces students to equipment, materials, processes and philosophy. Special emphasis is given to development of craft (technical aspects of the camera) and content (seeing) in relation to communication arts. Darkroom work provides an experiential approach to exploring black-and-white materials, roll film processing and enlarging. Students provide their own manual 35 mm camera. Lab and materials fee.
ART 125
Introduction to Drawing (3)
This studio class focuses on developing skillful use of drawing techniques, paired with an investigation of mind and perception. Drawing is presented here as a method for discovering the beauty and profundity of ordinary things. A graduated series of individual and collaborative exercises is presented for both beginning and experienced drawers.
ART 132
3-D Ephemeral Media (3)
This studio course explores the fundamental principles of three-dimensional design such as form, space, shape, value, balance, proportion and movement. Students examine contemplative ways of creating art and experience the symbiotic relationship that occurs when using ephemeral media (natural materials that erode or decay over time) as a primary medium. Materials fee.
ART 155
Figure Drawing (3)
The structure of this course is established by centering
concentration on the live human figure. Class routine begins
with gesture and warm-up drawing, followed by instruction
and specific exercises, ending with extended poses or poses relative to a particular figurative study. Figure exercises are
derived from an academic tradition to train the eye, as well
as the hand. Materials fee.
ART 180
Sculpture (3)
This studio course explores the organizing principles of three-dimensional design as well as the nature of one’s creative thoughts. Students learn to use a variety of materials and techniques including clay, plaster, metals, mold making and conceptual approaches. Investigations into the history of sculptural form raise questions pertinent to contemporary art. Materials fee.
ART 181/581
Traditional Chinese Brush Stroke I (3)
Brush stroke class focuses on learning how to cultivate the inner-Qi, or energy, through the practice of brush calligraphy. The history of Oriental calligraphy and culture is studied. We focus on the process of meditation with a brush. Emphasis is placed on regular, running style and grass style, Caoshu, with some exposure to seal script and brush painting as well. Students learn how Asian paper and brushes are used, how to place a chop or red seal on Chinese calligraphy and painting. We study how the Asian brush is designed and how it differs from Western brushes. Every student has artwork at the end of this course. Workshops begin with a light qigong standing meditation every week. Materials fee.
ART 200/500
The Contemplative Artist (3)
At the very heart of the word contemplative is the activity of observing, seeing. Contemplative, originally a term of divination, meant an open space marked out for observation. Contemplation implies attentive and meditative observation. Through mindfulness meditation, studio assignments and selected readings, students explore a cosmology of art; how art arises; how seeing occurs, literally and poetically; how people navigate and appreciate the world through sense perceptions; how perceptions are affected by culture; and how these two streams of the personal and the public join in an individual’s aesthetic sense and artistic statement.
ART 215
Watercolor (3)
This course, open to beginners and experienced artists, is a series of exercises designed to lay the foundation for understanding this famously difficult medium. The methods presented distill the techniques practiced in the Western tradition of the past three centuries and provide the basis for a lifetime of anxious pleasure. This is a studio class with demonstrations by the instructor and a lot of painting and drawing by the students.
ART 216
Photography II (3)
The primary goal of this course is to deepen and expand one’s knowledge of photography as a medium of artistic expression. The student needs to have completed at least one introductory course in photography and be ready to undertake more independent explorations of particular conceptual and artistic interests. Both theoretical and practical, this course is as much about thinking as about making images. At this level the student should have strong individual aspirations with regard to printing his or her images. Technical skills are expanded so that one’s printing ability is in sync with aesthetic aspirations. Materials fee.
ART 233/533
Thangka Painting I: Appreciation of Himalayan Buddhist Art (3)
Thangka painting, a traditional visual art form unique to the Himalayan Buddhist region, is approached in two ways: studio training in basic drawing and painting is paired with academic study within a broad context. Topics include history, styles, methods, content and relevance to historical and contemporary societies. The class format includes slide lectures, films, readings and field excursions. Students also work in a practice environment modeled after the Vajrayana nyinthang practice in two daylong sessions. Materials fee.
ART 245
Introduction to Painting: Realism (3)
Students develop technical ability as painters and increase
their creative options for art making. With the still life as
subject, the course focuses on color theory, the formal
elements of painting, and the various surfaces, tools,
techniques and myriad effects that can be achieved with
acrylic paint. Students explore the expressive potential of
painting and discuss their process during class critiques.
Knowledge gained enables students to be articulate about
and have a better understanding of the paintings that they
encounter in the world. Materials fee.
ART 260
Calligraphy and Book Arts (3)
A study of the disciplines of Western calligraphy and book
arts, incorporating design principles and artistic skills. An
alphabet in its historical and contemporary form is studied.
The study of the letter forms with the broad-edged pen is
complemented by design exercises to explore color, texture
and rhythm. Students learn a selection of book forms
designed from manuscripts and a wide variety of other
purposes. Materials fee. May be repeated twice for credit.
ART 281/582; 381/583
Traditional Chinese Brush Stroke II, III (3)
Based on skills learned in Traditional Chinese Brush Stroke I, students continue their exploration of the history, origin and construction of the Chinese characters. Students delve further into the five calligraphy-writing styles as a method to enhance their Chinese writing skills. To gain a better understanding of the aesthetic standard, oriental philosophy and oriental painting, students examine ways Chinese poetic artistry, i.e. poetry, calligraphy and painting, are interrelated in the Asian traditions. We look at modern Chinese and Japanese brush art work and the interaction between the West and the East. Workshops begin with a light qigong standing meditation every week. Materials fee.
ART 301
World Art I: Ancient to Middle Ages (3)
An introduction to the visual arts of archaic societies, and
of the civilizations of the Mediterranean and Middle East,
Asia, Central and South America, and Africa. Viewed from
a global perspective, we explore the historic and mythic
lineages of vision, meaning and craft.
ART 306
Photography III (3)
This advanced photography course undertakes an independent exploration of the student’s particular conceptual and artistic interests. Students concentrate on more independent projects while being exposed to further theoretical and practical aspects of studio work. Students are likewise encouraged to think beyond the single photo to more expanded notions of photography such as series-related work, alternative processes and installation work. Prerequisites: ART 116 and 216 or equivalent. Materials fee.
ART 311
Mixed Media (3)
Students engage in the creation of art made out of mixing materials and media. Investigations include formal, technical, philosophical and experiential aspects of art making. Sources of artistic imagery, from contemporary to traditional art, and the dynamics of aesthetic experience are examined. Students develop insights through the integration of witnessing many forms of art, critical intent and personal creative experience. Emphasis is placed on making art, artistic evaluation and the dynamics of group critique. Materials fee.
ART 325
Advanced Drawing (3)
Open to anyone with previous drawing experience. Beginning with an emphasis on precise observational drawing, the class proceeds through an array of exercises designed to deepen each student’s native way of drawing. The working basis for this is the One Hundred Drawings project, a semester-long exploration of an individually chosen theme.
ART 333/543
Thangka Painting II (3)
A continuation of ART 233/533. Students learn to stretch and prime cloth for painting. Each student begins by painting the eight auspicious symbols then advances to composing a complete thangka painting. Skills focused on include dry-technique shading, color mixing and application and making gold paint. Detailed study of classic thangkas, both past and contemporary, complement the skills practiced. Prerequisite: ART 233/533.
ART 345
Painter's Laboratory (3)
Like a science lab, the painter's laboratory is a place for
practice, observation and testing. This studio class is suitable
for anyone wanting to explore and develop as a painter.
The goal is to enhance seeing and to translate that highly
personal skill into paint. We study and experiment with
how to generate ideas, how to develop subject matter,
how to build on and incorporate previous training and
experience (including nonvisual), and how to engage the
vastness of contemporary and historical arts as a mentor
and ally. Lab skills include how to gather and use visual
information for painting through collecting, drawing and
notation. This is a hands-on lab; the medium is acrylic paint.
Materials fee.
ART 351
World Art II: Medieval and Modern Transformations (3)
An introduction to the visual arts of cultures that flowered
out of the influence of Buddhism, Christianity and Islam, as
well as the art of Western Europe from the 13th century
to the present. World Art I is not a prerequisite for this
class.
ART 380
The Cinema of Exile and Diaspora (3)
An examination of the filmmaking of postcolonial, Third World and other displaced subjects living in the West. We explore many of the shared themes, metaphors and symbols of these films, among those: alienation, displacement, journeying, nomadism, borders, migrancy, homelessness, nostalgia and home-seeking. We also examine and discuss certain styles that characterize these films, many of them demonstrating fragmented, multilingual, epistolary, interstitial and self-reflexive characteristics. In most of these films, identity is not fixed but is represented as a process of becoming and transformation.
ART 431/531
Advanced Studio Practice (3)
Students define and manifest their own artistic voice, incorporating the media and technique of their choice. Motivated students build a body of cohesive art work, with emphasis on technical, formal and conceptual development. Art and thought processes are supported by research, engaged inquiry and a highly focused studio practice. Viewing art from contemporary and traditional cultures encourages students to realize a global understanding of what art is. Prerequisites: two studio courses. Visual Arts majors only.
ART 433/553
Thangka Painting III (3)
For advanced students of thangka painting. Students continue to work on their compositions begun in Thangka Painting II. Further development of painting technique coincides with study and refinement of design both linear and tonal. The sewing of brocades for mounting finished paintings is also demonstrated. Prerequisite: ART 333/543.
ART 443/563
Thangka Painting IV (3)
For advanced students of thangka painting. Prerequisite: ART 433/553.
ART 480
Portfolio and Gallery Presentation (Senior Project) (3)
This spring course prepares students for the presentation
of their senior projects in the Naropa Gallery. The course
covers practical elements of designing and assembling a
portfolio, marketing, copyrights, presentation of artwork
and installation of exhibitions. BA Visual Arts seniors only.
Others by permission of Visual Arts Department chair.
ART 490/690
Special Topics in Visual Arts (3)
The Special Topics Seminar investigates the applications of theories and methods of Visual Arts specific to historical, critical and theoretical contexts. Specific topics are announced the semester this course is offered. The seminar is open to advanced undergraduate and graduate students.
ART 499
Independent Study (1–3)
An opportunity for students to engage in in-depth, concentrated study with a particular faculty member for a semester. The design of study and course work is decided upon by the student and faculty member.
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