W40 An Introduction to Plein Air Painting . Beginning on location in and around Calvin College's Bunker Interpretive Center, this class emphasizes working poetically small, using as simple and portable a set up as possible. Each day the class starts with a discussion of what makes the landscape that we confront unique and how an artist best captures the feeling of each place. With sketch books students spend time developing small drawings which help solidify ideas and teach them to look more closely at what they are seeing. The rest of the time is spent working up small paintings and taking part in discussions about art, being an artist, and historical references. Off campus day trips to Reed's Lake, Downtown Grand Rapids, Saugatuck Dunes State Park, Hoffmaster State Park and Calvin's Flat Iron Preserve will be included in this interim. Student work (a minimum of fifteen paintings) provides the basis for evaluation. Students are expected to supply paint and materials. This course may fulfill an elective in the Studio Art major. Fee: $300. F. Speyers. 9:00 a.m. to 4:00 p.m.
W41 Color, Image, Marketing & Design. Colors are everywhere. Humans are surrounded by uncountable numbers of colors and influenced by those colors, often unconsciously. This course is designed to help students understand the diverse dimensions of color that are derived from color’s physical and emotional aspects; this course also investigates the effective use of colors for marketing and design, as well as for works of art. In this course, based on a general understanding of color, students will learn how colors are tied to humans’ emotions, how different cultural groups have different reactions to colors, how artists use colors in their work, and how designers use colors in buildings, interior spaces, and commercial items. The course’s aim is to help students mature as culturally sensitive artists and designers, by offering students’ necessary knowledge about the influence of colors on human emotions. This is a studio course, requiring 10-12 short term projects and a final project. Grades are based on the quality of projects and presentations. This course may fulfill an elective in the Studio Art & Art Education majors. Y. Ahn. 8:30 a.m. to noon.
W80 Documentary, Difference and Power. Documentary is a record of our world. With the current popular interest in reality television, documentary films, and the ubiquity of the photographic image, we can all feel like experts in documentary. However, documentary images are frequently made and consumed with little regard for how the images construct concepts of what is “real” or “true”. When photographs and films show us images of other people, we become voyeurs into their lives, often without realizing the power we hold. When documentary is tied to the desire to change the world and to help others (its most prevalent historical legacy), power and charity make for a combination in which social and political difference are portrayed as detrimental, and viewers patronize their subjects. In this class we will study a history of documentary films and photographs, read theories of photography, and analyze films and photographs with the goal of understanding the transparency of the medium and the relationship of power between subjects, viewers, and producers. We will also put our ideas into practice by making documentary images and discussing the moral, relational, and spiritual dimensions of contemporary documentary practice. Assignments will include a written paper, daily reading and viewing assignments, in-class critiques, and three photography production projects. This course may fulfill an elective in the Art History and Studio Art majors and minors. Prerequisites: Art 153 or CAS 141. E. Van Arragon. 8:30 a.m. to noon.
W81 Found Objects . This course investigates the technical and conceptual aspects of collage, assemblage, and image appropriation. Students will experiment with compositional problem-solving and produce both 2-dimensional and 3-dimensional work. All materials will be found or used, therefore students are required to bring to class materials they have previously purchased or collected. Supplemental
materials will be provided as well. In addition to studio work, students will learn about the art historical role of image and object appropriation, and will view and discuss contemporary artists who are working in this medium. This course may fulfill an elective in the Studio Art major. Prerequisite: ART 153. M. Burrow. 2:00 p.m. to 5:00 p.m.
W82 Mixed Media Artist Bookmaking. This course will introduce the artistry of hand made bookmaking, concentrating on the book as aesthetic object. Physical and conceptual elements of the artist book unfold through time and space. Aesthetic problem solving therefore involves organizing conceptual, visual, physical, kinetic, and chronological transitions. Students will engage in conceptualizing content, three-dimensional construction incorporating movement, integration of image and text as visual phenomena, and harmonizing these elements in the execution of visually effective artist books. The study of hand made books from illustrated manuscripts to works of contemporary book artists will introduce students to both traditional and innovative materials and binding techniques. Students will investigate both high and low technologies of reproducing imagery for the purpose of execution and distribution. Bookmaking will occur both individually and collaboratively. Evaluation is based on successful completion of visually effective artist books integrating both form and content; completion of related studio projects and class participation. A juried exhibition of works completed during the course is planned. This course may fulfill an elective in the Studio Art, Fine Arts, and Art Education majors. Prerequisite: Arts 250 or permission of the instructor. Fee: $150. A. Greidanus. 10:30 a.m. to noon and 2:00 p.m. to 5:00 p.m.
ARTH W60 The Visual & the Visionary . To be a mystic is to remain silent and to close one’s eyes, to be, in a sense dead to this world. And yet, over and over again medieval mystics spoke of their ecstatic visions, their personal encounters with God. Although mystical experiences, by definition, were considered, in part or in whole, incommunicable, beyond the capacity of words and images, artists and writers produced works with the intention of showing people pathways to meet with the divine. In this course, we will read texts and look at visual images aimed at fostering mystical revelation. Readings will include selections from authors such as Augustine, Bernard of Clairvaux, and Meister Eckhart. Special attention, however, will be given to the writings of female mystics, such as Mechtild of Magdeburg, Gertrude of Hefta, and Hadewijch of Antwerp. Students will be evaluated on the basis of class participation, an oral presentation, and final examination. Prerequisite: ARTH 101 or 102. H. Luttikhuizen. 2:00 p.m. to 5:00 p.m.
ARTH 397 Methods in Art Historiography. A capstone seminar for all juniors and seniors majoring in art history, the course aimsto provide an understanding of the development of art history as an academic discipline and the major methodological approachesavailable for engaging art objects. Special attention is paid to connecting these methodological issues to the rest of the art history curriculum including the integration of ethics and faith commitments. In preparing students for future work in art history, the course strives to hone critical thinking skills and instill in students a richer appreciation of the stakes of intellectual positions. H. Luttikhuizen. 2:00 p.m. to 5:00 p.m.
IDIS W82 Critical Approaches to Horror. C. Smit, A. Wolpa.