MAJOR REQUIREMENTS 2
PLANNING THE MAJOR 2-4
GOING ABROAD AND GETTING CREDIT TOWARD THE MAJOR 5-6
GUIDELINES FOR USE OF THE SCULPTURE AREA 7-8
GUIDELINES FOR SENIOR EXHIBITION 9-11
GUIDELINES FOR HONORS IN STUDIO ART 12
ART 397/401 13-14
SUCCESSFULLY PREPARING FOR THE ART 397/401 ORAL EXAM 15
STUDY RESOURCES FOR ART 397/401 16
ART 397/401 LISTS: CHRONOLOGICAL AND BY MOVEMENT 17-28
ART 397/401 LISTS: ALPHABETICAL 29-31
COURSE REVIEW FOR MAJOR CREDIT FORM 32
APPLICATION FOR INDEPENDENT STUDIO 33
REQUIREMENTS FOR THE ART MAJOR IN STUDIO
As outlined in your Academic Year Catalog:
2 courses in Art History, one of which must be ART 100.
9 courses in Art Studio, including ART 397 and ART 401.
There is no minor in the Art Department.
PLANNING THE MAJOR
1. KNOW HOW THE ART STUDIO COURSE OFFERINGS ARE STRUCTURED.
FIRST semester of each year focuses on basic level classes. Usually, the following studio courses are offered the first semester of each year:
ART 101 Basic Studio (only open to first and second year students)
ART 201 Basic Drawing
ART 203 Basic Painting
ART 205 Basic Printmaking (etching)
ART 207 Basic Printmaking (lithography)
ART 209 Basic Sculpture
SECOND semester of each year focuses on advanced level classes. Usually, the following studio courses are offered second semester of each year:
ART 301 Advanced Drawing
ART 303 Advanced Painting
ART 305 Advanced Printmaking
ART 309 Advanced Sculpture
ART 397 Junior Advanced Study
SECOND semester also usually offers the following basic level classes each year:
ART 101 Basic Studio (only open to first and second year students)
ART 201 Basic Drawing
ART 203 Basic Painting
When you plan your major, make sure you are not planning to take a course that is not generally offered in the semester you plan on taking it. Offerings may vary because a professor is on sabbatical or offering a special seminar. Check with your advisor if you are unsure.
• There are no prerequisites for any basic level class.
• The basic level class is the prerequisite for the corresponding advanced level class.
• The basic and advanced level of a discipline must be completed before you can apply for an independent student in that discipline.
• Studio coursework completed abroad, even if approved for major credit, will not satisfy the prerequisite for an advanced level course.
2. MAKE A PLAN
Make a master plan of what studio courses you plan to take and check with your advisor. They can help spot potential problems. Making a plan is especially important if you plan to go abroad or are a double major. Some general advice:
• More than 2 studio courses in a given semester are usually not advised.
• Complete your art history credit as soon as possible-especially ART 100.
• Special accommodations are not made for double majors. If you are a double major, plan carefully.
• When you fill out your course choices, it is unlikely you will get studio courses unless you list them first and second on your web tree.
3. IF YOU SPOT A PROBLEM, SEE YOUR ADVISOR IMMEDIATELY.
Fill this out (we know it is likely to change) and run it past your advisor.
First Semester Second Semester
Junior year ART 397
Senior ART 401
Reminder: Get those Art History credits done before senior year!
GOING ABROAD AND GETTING CREDIT TOWARD THE MAJOR
If you plan to go abroad for a semester or a year, it is important to plan in advance so your major plan does not become muddled. Some important considerations:
PLAN WHEN YOU WILL TAKE ART 397:
ART 397 is a seminar offered only second semester of each year. If you plan to be abroad second semester, you should plan to take ART 397 in your sophomore year before going abroad. It is possible to take ART 397, with permission, first semester, but it is a completely independent course and the most important element, regular contact and critical discussion with your peers, is lost. Never plan to complete ART 397 and ART 401 in the same semester; it is a recipe for disaster.
POLICY ON STUDY ABROAD
This policy, approved in the spring of 2002, ensures that courses taken through the study abroad programs of other institutions are academically rigorous and comprehensive as a comparable course offered at or through Davidson College. The policy is as follows:
Art majors may receive up to two credits toward their major for courses taken abroad. Students will need to submit documentation of work done to the department assistant by October 8th for the previous spring or summer semester's courses, or March 5th for the fall semester's. Documentation includes the syllabus, class notes, any papers written, projects undertaken, tests and the final examination. For studio classes, all two-dimensional work and documentation of three-dimensional work should be submitted. The material will be evaluated by a committee of either studio or art history faculty, as appropriate, in order to determine whether the work meets department standards. If in the faculty's opinion the case is borderline, the student will be asked to pass a test to verify her or his competency in the subject matter of the course in question.
COURSE REVIEW FOR MAJOR CREDIT FORM
Complete a course review form and attach it to materials to be evaluated. Complete a different form for each course. Forms at back of this handbook.
THE REGISTRAR DETERMINES IF A COURSE TAKEN ABROAD WILL COUNT FOR CREDIT AT DAVIDSON COLLEGE.
THE ART DEPARTMENT DETERMINES IF A COURSE ALREADY APPROVED FOR CREDIT BY THE REGISTRAR, MAY COUNT TOWARD THE DEPARTMENTAL MAJOR.
WHEN YOU TAKE A COURSE ABROAD-SAVE EVERYTHING, DOCUMENT EVERYTHING.
GUIDELINES TO USING EQUIPMENT IN THE SCULPTURE AREA
Tools in this facility can be dangerous to yourself and others in the event they are not used properly. For your safety and the safety of others the guidelines listed below must be followed. Violation of these policies will result in an immediate forfeiture of access to the equipment and treated as an honors violation (which can result in penalties up to dismissal from the college).
1. The sculpture area is to be treated as a lab. It is exclusively for the use of students who are currently enrolled in sculpture classes, students enrolled in independent study in sculpture, or students who have the permission of Professor Savage or the lab technician.
2. No tool is to be used by anyone having access to the sculpture area until they have received instructions from Professor Savage. Students are not permitted to instruct each other in the use of tools under any circumstances. In such a circumstance, both students will be held equally responsible.
3. No tools are to leave the sculpture area without the permission of Professor Savage or the lab technician. If a tool is borrowed with permission, it must be returned immediately after use. Under no circumstance are tools ever to leave the VAC.
4. Students will be held financially responsible for any equipment loss or damage that is the result of misuse, neglect, or malicious intent. Students will not be held responsible for any damage resulting from proper use of the equipment.
5. Students will forfeit access to any individual equipment under the following circumstances:
1. Misuse, neglect, or malicious intent.
2. Failure to follow proper operating and safety procedures, including wearing safety glasses.
3. Failure to clean up and put away tools after use.
4. Failure to report any damage to Professor Savage or technician.
It is important that any damage or suspected damage to equipment is reported to Professor Savage immediately. Not every tool is inspected daily and damaged
equipment cannot be fixed unless it is known to be broken. Moreover, if someone is working with a broken tool they are far more likely to injure themselves or damage the equipment more extensively.
I have read and understand the above guidelines.
Senior Visual Arts Major Exhibition Information
Remember to get your invitations started at least six weeks before your show opens. And get them to the mail at least two weeks before the show opens. You may look at some of the cards that we have designed for the Van Every/Smith Galleries as a guide for the type of information you want your announcement to convey. Also, many of the printers will ask you to supply a high-resolution digital image, but most can scan a print photograph, slide or other transparency.
You may get your postcards printed at one of the following companies:
Modern Postcard @ www.modernpostcard.com - in addition to this company, you may want to do a Google search for printers of postcards. New companies are springing up all the time and the deals are getting better.
Postnet in Cornelius (704-895-4300) is good for small quantities and quick, local turn-around.
Walker Printing in Charlotte (704-537-3965).
There are plenty of other sources for cards in the local yellow pages and on the internet. It is suggested that you do some comparison shopping before committing to one company.
The standard format for your wall labels is:
Title of work, date of completion
• Sheets of clear labels (14 labels per sheet) are available from the department assistant
• Print on laser printer
• On a separate sheet you may list prices of works if they are for sale. The price list may be located next to your guest/comments book on the podium outside the Smith Gallery.
When you install your work, be sure to thoughtfully plan the arrangement of your artwork ahead of time so you do not cause unnecessary damage to the walls with excessive nails and/or screws. Also, DO NOT drag pedestals and sculptures across the floor. Hard work has gone into renovating the galleries, so be careful as you may be liable for repairs.
If you are installing your work during the day, please check with the department assistant to make sure there is not a class in the lecture hall next door. It will disrupt a class and the professor will be sure to inform you of this immediately!
The gallery cart will be in the gallery the morning of your date of installation. The Smith Gallery will be unlocked for you on that day and you should request that it be left open if need be for that evening. The next morning at 10:00 a.m. (opening day) your exhibition should be ready to view.
You will need to schedule your reception between the hours of 10:00 a.m. to 5:00 p.m., Monday-Friday, or noon to 4:00 p.m. on Saturday and Sunday. The day before your reception, you may want to send out e-mail reminders to professors and friends.
You can speak to Brad Thomas individually about what kinds of food and drink to serve (REMEMBER: NO ALCOHOL). You may also include music, but just be conscientious of any classes that may be in session in the VAC. Bring tablecloths and waste cans up to the atrium for your reception. Take all trash to the area downstairs by the loading dock when finished. It you dispose of any leftover food, please make sure it is double-bagged and tied securely.
If you want to document your exhibition, you will be responsible for shooting slides or photographs of the work. Please plan for this before your exhibition goes on view. For slides, you will need any speed TUNGSTEN slide film (this can be found at the CVS drugstore or any professional photo store in Charlotte or Cornelius.) (Call the store ahead to time to make sure they have that kind of film.) Good slides of your work are still important because that is what most graduate schools and juried art exhibitions ask that you submit as examples of your work.
For prints, any kind of color negative film will work and you can have good economical prints developed at CVS. And, of course, you could make digital images.
You will have a day scheduled to dismantle your exhibition. Again, the door will remain unlocked and the gallery cart will be available for you to work in the gallery. Pull all nails and screws from sheetrock walls and use a putty knife to fill each hole with spackle (if you need a tutorial on this, please let the gallery director know). Allow an hour to dry, then lightly sand. Use the appropriate touch-up paint to cover the repaired holes and sweep the floors. Leave the gallery cart in the Smith Gallery for the next person to use.
It is usually a good idea for the following person to cooperate with the previous exhibitor on the de-installation. The quicker the walls are repaired and the floors are cleaned, the more time there will be for the next installation.
If you have questions about your show, please contact: Brad Thomas, Director and Curator, Van Every/Smith Galleries, X2519, or e-mail at brthomas @davidson.edu.
GUIDELINES FOR HONORS IN STUDIO ART
If you wish to graduate with honors, you must complete the following:
1. Score a 49 or 50 on your senior oral exam.
2. Complete a second solo exhibition in addition to ART 401 senior exhibition.
Students are strongly advised to seek the guidance of a member of the studio faculty in the process of planning an honors exhibition. There is no guarantee that the exhibit will be approved to count toward honors. Studio faculty will determine upon viewing the exhibit if it has satisfied the honors requirement. For this reason, communication with the studio faculty in the process of preparing the exhibit is important. The exhibit will be evaluated with respect to the following expectations:
Venue for exhibition: The student/faculty lounge is the only venue that is provided by the art department. If the student selects an alternative venue it must be approved by the studio faculty.
Scope of exhibition: Although the exhibit will likely be smaller in scope than the senior show presented in the Smith Gallery, it is expected that the show include 10 or more works depending on scale. Works may come from Art 397, independent study or work made outside of regular course work. Studio faculty should be consulted on this matter. An exhibition of 3 or 4 works (unless we're looking at murals), or a few sketchbook pages pinned to the wall will not satisfy the requirement.
Presentation of Artwork: The art should be presented with the same professionalism that is expected of the Senior Exhibition with respect to framing and labeling. Although an announcement is not required, the work should be displayed for a minimum of 5 days and a public reception of some sort should be held.
ART 397 and ART 401
When you declare a major in art studio, you are given two different lists of artist names. The large list (160 names) represents your responsibility for the senior comprehensive which is a major component of ART 401. It will be in the form of an oral exam, and the grade from this exam will be combined with the evaluation of your senior exhibition to determine whether you have successfully completed ART 401. The shorter list (100 names) will be the basis of your oral exam in the junior year. You will register for this as ART 397.
The test on the 397 list is designed to give you practice in preparing for the senior oral, and the grading has been structured so that it is difficult to fail and difficult to excel. Because the test for ART 397 is nearly impossible to fail, it will not be administered more than once. Failure will require registering for the class again. Out of the 100 names you will be tested on a random selection of 35. The grading scale is as follows:
During the semester of enrollment in ART 397, you are expected to be working independently on a body of studio work. The results of this effort will be presented at the time of your oral exam and will affect your final grade.
Your senior oral exam will be on a random selection of 50 names from the ART 401 list. The grading scale is as follows:
Because the senior list is more difficult, you may retake it should you fail. The new grade will be adjusted down one grade distinction for each failure (e.g. A ‘B' would become a ‘B-‘). Three opportunities to pass the oral exam will be the limit, after which you must reregister for the course. In the event this should happen, credit for the successful completion of the senior exhibition will carry over to the semester in which you pass the oral exam. Your final grade for ART 401 will be a combination (not a strict average) of the oral exam grade, your overall performance on the oral which might not be reflected by your grade, and our evaluation of your senior exhibition.
SUCCESSFULLY PREPARING FOR THE ART 397 AND ART 401 ORAL EXAM
You should be able to close your eyes and enter a room where representative selections of an artist's work are visible, and then be able to describe that work to us in your own words, stressing such issues as scale, color, surface, materials, subject matter, and content. We will expect you to know:
1. Specific (not generalized) examples of a given artist's work throughout his/her career. Be able to make distinctions between different series of works and how the artist's works change over the course of his/her career. This will vary from artist to artist. Some have long careers and go through many changes. You should be familiar with the works that are of particular historical significance, but you will not be expected to know the precise date a work was created or the title. If they are still living, what are they doing now? (You will need periodicals for this.) It is likely that you will need to describe 10 or more works by many of the artists listed.
2. You will be given an outline that covers all the artists from both lists and organizes them by movement as well as chronologically. You will need to be familiar with all the terms listed on that outline with respect to given artists and the term in general. For example, you should not only know that Ben Shahn is considered a social realist, but you should know what the term ‘social realism' means and where it fits into the general historical timeline.
3. When dealing with artists of a similar movement, it is important to be able to distinguish one artist from another by virtue of subject matter and personal style. For example, what distinctions would you make between two Expressionists such as Otto Dix and Max Beckmann?
Please don't memorize notes off a card that you cannot explain with clear examples of the artist's work, because we will ask questions to be sure your comprehension extends to the ability to actually visualize the work. It is not enough to know ‘who the artist is,' you must be familiar with the artist's career. For example, the average person is familiar with Georgia O'Keefe, but your knowledge must exhibit an awareness of the breadth of her career, not just a few paintings from the calendar at Barnes and Noble.
Study Resources for Art 397/401
The Modern Art and Contemporary Art courses are extremely helpful in providing a framework for ART 397 and ART 401 but neither course offers sufficient depth about any artist on the list. In addition, you will need to spend considerable time in the library with books and periodicals. Because of the number of books you will need to consult and because many students will want access to them simultaneously, please follow these guidelines:
1. Books must remain in the library and are not to be checked out.
2. Books should not be re-shelved, but moved to the area designated by the library for studying the list and shelved alphabetically by artist's name.
3. Books and the library should be treated as the valuable assets they are. Do not pile books or treat them in a way that could result in damage.
Your cooperation in caring for these resources is vital. One student's misuse constitutes another student's inability to study effectively. Not following these guidelines may influence your final grade and can be treated as a violation of the honor code or code of responsibility.
There is no promise that there will be a folio on every artist. You will likely have to consult other books related to the artistic movement and look through periodicals. The internet is an increasingly tapped resource, but be aware that it is unlikely that it will provide adequate depth of knowledge (it is an ocean two inches deep). You may need to consult other libraries. In such a case, there is no better source of study than the real thing, and any travel you do to a major city would wisely include a trip to the art museum(s).
ARTISTS BY MOVEMENT
ART 397 List 100 Artists
ART 401 List 157 Artists
Francisco Goya, Spanish, (1746-1828)-romanticism
Jean Auguste Dominique Ingres, French, (1780-1867)-neoclassicisms, romantic classicism
Honore Daumier, French, (1808-1879)-realism
IMPRESSIONISM (begins 1872)
Edouard Manet, French, (1832-1883)-also post impressionism
Edgar Degas, French, (1834-1917)
James Abbott McNeill Whistler, American, (1834-1903)
Claude Monet, French, (1840-1926)
Auguste Rodin, French, (1840-1917)-also expressionism
Pierre Auguste Renoir, French, (1841-1919)
Georges Seurat, French, (1859-1891)-also neo impressionism
Mary Cassatt, American, (1864-1901)
Henri De Toulouse-Lautrec, French, (1864-1901)
Aubrey Beardsley, English, (1872-1898)
Paul Cezanne, French, (1839-1906)
Vincent van Gogh, Dutch, (1853-1890)
Odilon Redon, French, (1840-1916)
Henri Rousseau, French, (1844-1910)
Paul Gauguin, French, (1848-1903)-also post impressionism, nabi
James Ensor, Belgian, (1860-1949)-also expressionism
Aristide Maillol, French, (1861-1944)-also nabi
Gustav Klimt, Austrian, (1862-1918)-also Vienna secession (1892)
Pierre Bonnard, French, (1867-1947)-also nabi
Edvard Munch, Norwegian, (1863-1944)-also expressionism
Paul Klee, Swiss, (1879-1940)-also surrealism/Bauhaus
FAUVISM (begins 1905)
Henri Matisse, French, (1869-1954)
Andre Derain, French (1880-1954)
Maurice de Vlaminck, French, (1876-1958)-also post impressionism
GERMAN EXPRESSIONISM (begins 1905)
Die Brucke (1905-06)
Emile Nolde, German, (1867-1956) - also fauvism
Ludwig Kirchner, German, (1880-1938)
Der Blaue Reiter (1911)
Franz Marc, German, (1880-1916)
Wassily Kandinsky, Russian/German, (1866-1944)-also Bauhaus
Neue Sachlichkeit (New Objectivity) (1925)
Max Beckmann, German, (1884-1950)
Otto Dix, German, (1891-1969)
Georg Grosz, German, (1893-1959)
Lovis Corinth, German, (1858-1925)
Georges Rouault, German, (1871-1958)
Raoul Dufy, French, (1877-1953)
Wilhelm Lehmbruck, German, (1881-1919)
Karl Schmidt Rottluff, German, (1884-1976)
Oskar Kokoschka, Austrian, (1886-1980)
Egon Schiele, Austrian, (1890-1918)-also symbolism
School of Paris
Marc Chagall, Russian, (1887-1985)-also surrealism
Chaim Soutine, Russian/French, (1893-1943)
Amedeo Modigliani, Italian, (1884-1920)
CUBISM (begins 1908)
Julio Gonzalez, Spanish, (1876-1942)
Georges Braque, French, (1882-1903)
Juan Gris, Spanish, (1887-1927)
Pablo Picasso, Spanish, (1881-1973)
Jacques Lipchitz, Lithuanian/French, (1891-1973)
WORLD WAR I BEGINS 1914
ARTISTS INTERSECTING WITH CUBISM
Lyonel Feininger, German, (1877-1956)-also cubism/Bauhaus
Marsden Hartley, American, (1877-1943)-cosmic cubism
Joseph Stella, American, (1877-1946)-also futurism, cubism
Frantisek Kupka, French, (1871-1957)-synchronism
Jacques Villon, French, (1875-1963)-also orphism
Fernand Leger, French, (1881-1955)-also purism, cubism
Robert Delaunay, French, (1885-1941)-orphism
Stuart Davis, American, (1894-1964)-syncopated cubism
(ITALIAN) FUTURISM (begins 1909)
Giacomo Balla, Italian, (1871-1958)
Umberto Boccioni, Italian (1882-1916)
Gino Severini, Italian, (1883-1966)
DADA (begins 1916)
Jean Arp, French, (1887-1966)-also biomorphic abstraction, surrealism
Marcel Duchamp, French, (1887-1968)
Kurt Schwitters, German, ((1887-1948)-also merz
Man Ray, American, (1890-1976)-also surrealism
THE BAUHAUS (1919-1933) (also see Kandinsky, Klee, Feininger)
Josef Albers, German/American, (1888-1976) also op art, Black Mountain College
SURREALISM (begins 1922)
Giorgio De Chirico, Greek/Italian, (1888-1978)-metaphysical school
Max Ernst, German, (1891-1976)-also dada
Joan Miro, Spanish, (1893-1983)
Andre Masson, French, (1896-1987)
Rene Magritte, Belgian, (1898-1967)
Yves Tanguy, French, (1900-1955)
Salvador Dali, Spanish, (1904-1989)
ARTISTS INTERSECTING WITH SURREALISM
Henri Rousseau, French, (1844-1910)-also nabi
Constantin Brancusi, Romanian, (1876-1957)-also biomorphic abstraction, dada
Joseph Cornell, American, (1903-1972)
Frida Kahlo, Mexican, (1907-1954)-also folk/feminism/surrealism
STOCK MARKET CRASH 1929
EARLY 20TH CENTURY
Piet Mondrian, Dutch, (1872-1944)-de stijl, neo-plasticism
Kasimir Malevich, Russian, (1878-1935)-suprematism
Thomas Eakins, American, (1844-1916)
Edward Hopper, American, (1882-1967)
George Bellows, American, (1882-1925)
Precisionism (begins 1914)
Charles Demuth, American, (1883-1935)
Charles Sheeler, American, (1883-1965)
Championed by Alfred Stieglitz
John Marin (1870-1953)
Arthur Dove (1880 -1946)
Georgia O'Keeffe (1887-1986) - also American scene painting
Jose Clemente Orozco, Mexican, (1883-1949)
Diego Rivera, Mexican, (1886-1957)
Thomas Hart Benton, American, (1889-1975)
Grant Wood, American, (1891-1942)
Ben Shahn, American, (1898-1969)-social realism
Raphael Soyer, Russian/American, (1899-1987)
Romare Bearden, American, (1912-1988)
WORLD WAR II BEGINS, COMMERCIAL TV BEGINS 1939
Naum Gabo (1890-1977) - constructivism
Henry Moore (1898-1986)-also figurative abstraction
Barbara Hepworth (1903-1975)-biomorphic abstraction
Isamu Noguchi, Japanese/American, (1904-1988)-also minimalism
Rufino Tamayo, Mexican, (1899-1991)-figurative abstraction
Post War Expressionism
Marino Marini, Italian, (1901-1980)
Alberto Giacometti, Swiss, (1901-1966)-also surrealism
Jean Dubuffet, French, (1901-1985)-also art brut
Frances Bacon, English, (1910-1992)
Morris Graves, American, (1910-2001)
Milton Avery (1885-1965)
Reginald Marsh (1898-1954)
Jacob Lawrence (1917-2000) - also Harlem renaissance
Andrew Wyeth (1917- 2009)
Saul Steinberg, American, (1914-1999)
Jose de Rivera (1904-1985)
Ivan Albright, American, (1897-1983)
Graham Sutherland, English, (1903-1980)-neo romanticism
Jack Levine, American, (b. 1915)
Georgio Morandi, Italian, (1890-1964)
Charles Burchfield, American, (1893-1967)
Alexander Calder, American, (1898-1967)-kinetic art
Louise Nevelson, Russian/American, (1899-1988)
Alice Neel, American, (1900-1984)
Louise Bourgeois, French/American, (b. 1911)-happenings, neo surrealism, installation
ABSTRACT EXPRESSIONISM (aka Action Painting) (begins early 1940's)
New York School
Hans Hofman, German/American (1880-1966)
Mark Rothko, American, (1903-1970)-color field painting/post painterly abstraction
Willem de Kooning, Dutch/American, (1904-1997)-also Black Mountain College
Clyfford Still, American, (1904-1980)
Franz Kline, American, (1910-1962)
Jackson Pollock, American, (1912-1956)
Robert Motherwell, American, (1915-1991)-also Black Mountain College
Mark Tobey, American, (1890-1976)
Bradley Walker Tomlin, American, (1899-1953)
Adolf Gottlieb, American, (1903-1974)
Arshile Gorky, Armenian, (1904-1948) also surrealism
David Smith, American, (1906-1965)
Lee Krasner, American, (1911-1984)
William Baziotes, American, (1912-1963)
Philip Guston , American, (1913-1980)-also new image
Ad Reinhardt, American, (1913-1967)-also minimalism
Hans Hartung, French, (1904-1989)-also tachism
Antoni Tapies, Spanish, (b. 1923)
ARTISTS INTERSECTING WITH ABSTRACT EXPRESSIONISM
Lucio Fontana, Italian, (1899-1968)-geometric abstraction
Jack Bush, Canadian, (1909-1977)-abstract expressionism
Matta Echaurren, Chilean/French, ((b. 1912)-also surrealism
Richard Pousette-Dart, American, (1916-1992)
Richard Diebenkorn, American (1922-1992)-geometric abstraction
Nathan Oliveira, American, (b. 1928)
Al Held, American, (1928-2005)-hard edged painting
Cy Twombly, American, (b. 1929)
John Chamberlain, American, (b. 1929)-also Black Mountain College
Robert Ryman, American, (b. 1930)-also pop, minimalism
Robert Mangold, American, (b. 1937)
Brice Marden, American, (b. 19378)-also minimalism
Karel Appel, Dutch, (b. 1921)
Pierre Alechinsky, Belgian, (b. 1927)
POST PAINTERLY ABSTRACTION (begins late 1940's)
Barnett Newman, American, (1905-1970)-color field painting, minimalism
Agnes Martin, Canadian/American, (b. 1912)-also minimalism
Morris Louis (1912-1962)-color field painting
Jules Olitski, Russian, (1922-2007)
Sam Francis (1923-1994)
Ellsworth Kelly, American, (b.1923)-also hard-edged painting
Kenneth Noland, American, (b.1924)
Anthony Caro, English, (b. 1924)
Helen Frankenthaler, American, (b. 1928)-color field painting
Frank Stella, American, (b.1936) - also hard edged painting
Larry Poons, American, (b. 1937)-also color field painting
POP ART (begins mid 1950's)
Richard Hamilton, English, (b. 1922)
H.C. Westermann, American, (1922-1981)
Roy Lichtenstein, American, (1923-1997)
Larry Rivers, American, (1923-2002)
George Segal, American, (1924-2000)-installation art. new realism
Robert Rauschenberg, American, (1925-2008)-also happenings
Andy Warhol, American, (b. 1925-30-1987)
Duane Hanson, American, (1925-1996)-super realism
Edward Kienholz, American, (1927-1994)-installation art
Robert Indiana, American, (b.1928)
Claes Oldenberg, American, (b.1929)
Jasper Johns, American, (b.1930)
Marisol Escobar, French/American, (b. 1930)
Tom Wesselmann, American, (1931-2004)-also new realism
James Rosenquist, American, (b. 1933)
Jim Dine, American, (b. 1935)
Red Grooms, American, (b. 1937) also installation art
David Hockney, English, (b.1937)
Edward Ruscha, American, (b. 1967)
Victor Vasarely, Hungarian/French, (1906-1997)-grav
Bridget Riley, American, (b. 1931)
Jesus Rafael Soto, Venezuelan, (1923-2005)-grav, minimalism
HAPPENINGS (begins late 1950's)
Allan Kaprow, American, (1927-2006)-conceptual art
Joseph Beuys, German, (1921-1986)-also performance art, fluxus
Nam June Paik, Korean/American, (1932-2006) - also video art, installation art, fluxus
LATE 20TH CENTURY (artists active from early 1960's to the present)
MINIMALISM (begins early 1960's)
Tony Smith, American, (1912-1980)-conceptual art
Donald Judd, American, (1928-1944)
Sol Lewitt, American, (1928-2007)
Robert Morris, American, (b. 1931)-process art
Dan Flavin, American, (1933-1966)
Carl Andre, American, (b. 1935)-conceptual art
Eva Hesse, American, (1936-1970)
Richard Serra, American, (b. 1939)-process art, site specific art
Joel Shapiro, American, (b. 1941)-post-minimalism
Richard Lindner, American, (1901-1978)
Leon Golub, American, (1922-2004) Chicago School
Georg Baselitz, German, (b. 1938)
Sigmar Polke, German, (b. 1941)-new expressionism
Anselm Kiefer, German, (b.1945) also postmodernism
Sandro Chia, Italian, (b. 1946)
Julian Schnabel, American, (b. 1951)
Francesco Clemente, Italian, (b. 1952)
David Salle, American, (b. 1952)
New Realism/Photorealism (begins mid 1960's)
Wayne Thiebaud, American, (b. 1920)-also pop
Lucian Freud, German/British, (b. 1922)
Philip Pearlstein, American, (b. 1924)-photorealism
Jean Tinguely (1925-1991)-kinetic, happenings, pop
Alex Katz, American, (b. 1927)
Richard Estes, American, (b. 1936)-photorealism
Chuck Close, American, (b. 1940)-photorealism
Eric Fischl, American, (b. 1948) also new realism
Environmental Art/Site Specific Art
Christo and Jeanne-Claude, Bulgarian/American, (b. 1935)-site specific art, environmental art
Robert Smithson, American, (1938-1973)-site specific art, environmental art
Gerhard Richter, German, (b. 1932)
Dennis Oppenheim, American, (b. 1938)-conceptual art
Vito Acconci, American, (b. 1940)-also performance art
Bruce Nauman, American, (b. 1941)-also kinetic art
Chris Burden, American, (b. 1946) - also performance, installation art
Jim Nutt, American, (b.1938)
Ed Paschke, American, (1939-2004)
Roger Brown, American, (1941-2000)
Magdalena Abakanowicz, Polish, (b. 1930)-also fiber art
Hans Haacke, German/American (b. 1936)-installation art, conceptual art
Jannis Kounellis, Greek, (b. 1936)-also conceptual art
Judy Chicago, American, (b. 1939)-also site specific art, feminist art
Jonathan Borofsky, American, (b. 1942)-also kinetic art, new image
Barbara Kruger, American, (b. 1945)
Jenny Holzer, American, (b. 1950)
Robert Gober, American, (b. 1954)
Robert Colescott, American, (b. 1925)
Robert Arneson, American, (1930-1992)-also pop art
Jack Beal, American, (b. 1931)
Howard Hodgkin, English (b. 1932)
Richard Hunt, American, (b. 1935)
Gregory Gillespie, American, (1936-2000)
Lucas Samaras, Greek/American (b.1936)
William T. Wiley, American, (b. 1937)
Pat Steir, American, (b. 1938)
John Ahearn, American (b. 1951)
Annette Messager, French, (b. 1940)
Elizabeth Murray, American, (b. 1940)-neo abstraction
Nancy Graves, American, (1940-1995)-neo abstraction
Martin Puryear, American, (b. 1941)
Jackie Winsor, American, (b. 1941)-process art
James Surls, American, (b. 1943)
Rebecca Horn, German, (b. 1944)-kinetic art, installation art
Susan Rothenberg, American, (b. 1945)-new image
Tony Cragg, English, (b. 1949)
Antony Gormley, English, (b. 1950)
Sue Coe, English, (b. 1951)
Anish Kapoor, Indian, (b. 1954)
Kiki Smith, American/German, (b. 1954) w
Ann Hamilton, American, (b. 1956)-installation art
Keith Haring, American, (1958-1990)-graffiti
Jeff Koons, American, (b. 1955)-neo geo, postmodernism
Jean-Michel Basquiat, American, (1960-1988)-graffiti
Rachel Whiteread, British, (b. 1963)
ART 397 - ALPHABETICAL LIST
Giorgio De Chirico
Vincent van Gogh
Willem de Kooning
Henri De Toulouse-Lautrec
ART 401 - ALPHABETICAL LIST
Christo and Jeanne-Claude
Ernst Ludwig Kirchner
Nam June Paik
Jose de Rivera
Jesus Rafael Soto
Bradley Walker Tomlin
Maurice de Vlaminck
William T. Wiley
COURSE REVIEW FOR CREDIT FORM
In order for work done in a non-Davidson course to be reviewed for major credit, please complete the information below and submit with your course materials and portfolio by the appropriate deadline: October 8th for courses taken the previous spring or summer; March 5th for courses taken the previous fall. NOTE: Any major credit granted by the Art Department is contingent upon graduation credit being assigned by the Registrar's Office.
Your Name and Class ____________________________________________________
Today's Date ___________________________________________________________
Your Advisor ___________________________________________________________
Title of Course Taken ____________________________________________________
Institution Name and Location _____________________________________________
Dates of Course Taken ___________________________________________________
To be completed with dates and signatures by Art Department:
Art Major Credit given as __________________________ on ____________________
Transcript course listing Date
_____________________________________ Grade Received _____________
Art Department Chair
___________ Notified student of review outcome
___________ Copied and sent original form to Registrar
APPLICATION FOR INDIVIDUAL STUDIO
Individual studios will be assigned to studio art majors on a priority basis. Senior applications will be considered first, then juniors, sophomores who have declared a major, and finally any special cases.
Studios are for the purpose of work produced independently from regularly scheduled classes. When you are enrolled in a class, you are to participate in the space where that class meets. Legitimate projects for individual studios would be Independent Study, preparing work for your senior exhibition, and any work to be produced over and above class assignments.
The studio art faculty will check studios at random in order to determine if they are being used in a serious manner. Any faculty member may issue a verbal warning, and if the situation does not improve, the three studio faculty will decide whether to assign the studio space to the next student on the waiting list.
Please complete the following statements:
I would like to have an individual studio because:
I will use the following media:
I would like to be located ____________upstairs (painting and drawing)
Name_____________________________ Class____________ Date _____________