Art (ART)

First half of a year-long introductory survey of the major monuments of western art from ancient history through the Gothic period. Works of architecture, sculpture and painting are studied with special attention given to the development of style as well as the various techniques and qualities of each medium. The principles, basic methods, and terminology of art historical analysis are introduced. This course may be taken independently of ART 103. The class may visit the Metropolitan Museum of Art. Students may be required to cover museum admission fees.

Second half of a year-long introductory survey of the major monuments of western art from the Renaissance to the twenty-first century. Works of painting, sculpture, and architecture are studied within their historical contexts. This course may be taken independently of ART 102. The class may visit the Metropolitan Museum of Art. Students may be required to cover museum admission fees.

Students are introduced to a variety of traditional and contemporary techniques and approaches to sculpture. Casting processes are demonstrated, and students complete assignments using both glyptic and plastic methods.

A studio course designed as an introduction to the forms and techniques of ceramics. Students learn wheel-throwing and hand-building techniques with emphasis on functional forms. Students form, glaze, and kiln fireworks of their own design.

Students will explore the freshness and spontaneity of this challenging medium. The course will address problems of visualization, technique, and the manipulation of materials. ART 138 is an introduction to watercolor painting, including materials, techniques, and an overview of the diverse cultural traditions of this venerable art medium. This class will consist of in-class painting assignments, group discussions, field trips, slide lectures, and weekly homework assignments emphasizing skill building and creative exploration.

Students learn basic drawing techniques and experiment with media including pencil, charcoal, and pen and ink. Students acquire basic drawing skills and learn to draw from direct observation through projects including still life, landscapes, or abstraction. Figure drawing and linear perspective are introduced as are more conceptual approaches to drawing.

Contemporary painting materials and techniques are demonstrated using acrylic paints and mediums. The course includes basic color theory and its application to both figurative and abstract painting. Students work with a variety of subjects.

Students learn basic photographic techniques using the 35mm film camera. Students are introduced to cameras and equipment. Extensive darkroom work includes film processing, printing and enlargement of negatives, mounting and presentation of prints.

This course will introduce students to the practice and ideas of documentary photography through the completion of a project or series of related photographs. Students will be introduced to digital and analogue processes in color and B&W, and to trends and ideas in contemporary and historical documentary work. With greater skills and context in place, students will begin to put together a photographic project. They will be required to present work for critique every other week, complete a midterm presentation and project proposals, and complete the corresponding body of work self-published in published form.

Digital Photography I is a studio art course designed to introduce students to the use of the digital camera and to photography as a visual means of expression. Emphasis is on the expression of ideas through learning digital techniques, camera control and output options.

An introduction to the principles of design in the two-dimensional media. The course consists of demonstrations, lectures, and studio projects aimed at the development of the skills and concepts underlying the design process in a wide variety of visual art forms. Composition, balance, harmony, symmetry, and asymmetry will be explored along with basic color theory and application.

This course introduces students to a wide range of techniques in drawing, painting, collage and two and three-dimensional design. Students will experiment with media including watercolor, paint, cut-paper and graphite over many support materials, including mylar, photographs, magazines, etc. the course will consist of lectures, studio projects and a museum visit.

This course will teach students basic elements of spatial design. Working with both simple constructive materials as well as 3D computer modeling software, students will explore the possibilities of organic and inorganic forms for both aesthetic and practical three-dimensional objects.

This course acquaints students with current processes of graphic reproduction utilizing the computer. Typefaces are compared and their appropriate uses demonstrated. Copy layout and all procedures involved in the production of finished mechanicals are explained and demonstrated. Practical studio work by students includes the complete preparation of advertisements, magazine pages, book covers, etc.

The art of cinema can also be the cinema of art, that is, movies made about art and artists. This course will focus on the last fifty years of American art seen through films and videos produced up to the present time. Analysis of the a wide range of filmic approaches will contrast biographical dramas such as Pollock and Basquiat with classic documentaries such as Painters Painting, experimental narratives like Downtown 81 (with Jean-Michel Basquiat), or hybrid documentaries such as Charlie Ahearn's Artist Portrait Videos. The primary focus will be on the evolution of art and artist's studio practice.

Visual Literacy introduces the study of our visual environment through readings, films, and design projects. We begin with an analysis of elements of visual design, and we read, create, observe, and respond to media, advertising, the web, film, and comics. There will be a balance between observation and readings with engaging experientially in creative projects.

This course will introduce students to the principles and practices of museum studies through an interactive seminar structured around the multiple functions performed by curators in various phases of their work. Weekly reading assignments on key topics addressing the changing role of museums in the 21st century will be supplemented with oral and written exercises encouraging students to experience more directly the key issues facing curators in art museums and commercial galleries all across the professional spectrum. The student's participation in the course will culminate in an oral presentation to the class and a corresponding term paper, focusing on a hypothetical exhibition to be planned by the student throughout the course, in consultation with the instructor

This course will introduce the student to fundamentals of digital design including imaging collage, typography, composition, form, perspective, and color therapy. This course will explore artwork and graphics on the Macintosh Platform, familiarizing the student with Adobe Photoshop, Adobe Illustrator, and InDesign. The focus will be on acquiring creative artistic methods through projects and week-by-week skill development. Students will gain an understanding of the principles of design and art as a means of visual communication.

Political art has entered into mainstream discourse as an integral part of a new, more theoretically grounded and socially contextualized historical practice. Students will examine selected works of contemporary art conceived as social commentary and/or political protest. Class discussions will focus on the political relevance of current art, for example, Public Art and the controversy surrounding the World Trade Center memorial, Feminist Art, and media Technology and its uses as an interactive vehicle to advance social change.

This class is designed to introduce students to fine art video art production and filmmaking. Students learn camera techniques, storyboarding and editing. The focus is on acquiring skills through projects developed individually and in groups. Projects include both narrative and non-narrative approaches to the medium of video. Emphasis is on visual art and film as communication and basic approaches to filming, editing and post-production.

The major goal of this course is to familiarize students with current digital photography techniques and equipment. By using a hands-on and laboratory/lecture approach, we will be able to produce a wide variety of projects using both studio and field procedures. Some of the areas we will cover include: composition, lighting, focus, content based story-telling, digital printing, and adobe Photoshop post production.

This course is designed as an introduction to ceramics with specific focus on the use of self-hardening clay to build several projects ... using a variety of media, the students will explore primitive through contemporary ceramic forms to help them design and build their projects. Acrylic paint with clear coat finish will be used to complete the projects.

Home and the Places We Live is an exploration of house, home, identity, family, and history through still life photography. Students will create still life photographs in the places where they spend the most time. We will pay attention to light, balance, object, and narrative in the singular image. In addition to making images, critiques are essential part of the learning process in the course and are an opportunity for us all to come together with fresh eyes to explore how the work functions, and how your ideas align with the work’s impact on the viewer. Students will look at the work of contemporary artists and consider their own work in relation to these innovative image makers. In addition to attending all 10 class sessions, students are required to complete a writing project with the ICP Program Coordinator, Derek Stroup. Students need provide their own camera. A DSLR or iphone camera is acceptable for this course. Students with questions about the course or equipment can contact The ICP Program Coordinator, Derek Stroup by email: dstroup@pace.edu All skill levels are welcome.

This class is part of the Pace University-International Center of Photography joint program in photographic education and is offered in conjunction with ICP, one of the foremost photography schools in the country. This course looks closely at expression, gesture, performance, and narrative in photographic self-portraiture. Through weekly assignments, students experiment with different approaches to self-portraiture, become more comfortable in-front of the camera lens, and develop a visual language to express themselves through their photographic work. In addition to attending all 10 class sessions, students are required to complete a writing project with the ICP Program Coordinator, Derek Stroup. Students need provide their own DSLR camera and tripod. Students with questions about the course or equipment can contact The ICP Program Coordinator, Derek Stroup by email: dstroup@pace.edu

This course is an introduction to media and techniques of digital drawing. The focus is on drawing and design. Students may use whichever software programs they choose. *This course does not teach software. It is now a technical course, it is a step by step approach to an analysis of drawing tools and content. Basic skills particular to digital drawing will be developed through a variety of exercises that will address design by simplifying and isolating elements such as line, form, texture and color. Weekly critiques will reinforce the basics of design and technique as students share their techniques and process.

Survey of Greek architecture, sculpture, and painting from their origins in pre-historic art through the periods of Minoan, Mycenaean, geometric, archaic, classical, and Hellenistic art. Works of art may be studied on a first-hand basis in the Metropolitan Museum of Art.

A chronological study of the architecture, sculpture, and painting of the ancient civilizations in Greece and Italy, concluding with the reign of Emperor Constantine. Includes trip to the Metropolitan Museum of Art.

Art and architecture of the Roman Empire from its beginnings on the Italian peninsula, through its expansion across Europe, North Africa and parts of the Middle East. The course examines how the Romans effectively incorporated the heritage of Greek art into their own, creating a rich and diverse artistic milieu that they subsequently disseminated throughout the lands under their dominion. Particular attention is paid to the role of art in political propaganda, the methods by which art was transmitted to the provinces, the interaction between painting, sculpture, and architecture, and finally how Roman art was gradually adapted to the needs of the Christian faith. Works of art may be studied on a firsthand basis in the Metropolitan Museum of Art. Students may be required to cover museum admission fees.

A brief overview of the arts of the early Middle Ages introduces a careful study of the architecture, sculpture, painting, and decorative arts of the 11th through the 14th centuries in western Europe. In architecture, an emphasis will be placed on the building of cathedrals during the Romanesque and Gothic periods. May include trips to the Metropolitan Museum of Art and the Cloisters.

Study of works of art created primarily in America and Europe after World War II with an emphasis on the last thirty years. The material covered includes painting, sculpture, and video, performance works, installation art, digital art, and new media. Students may study works of art on a firsthand basis at the Museum of Modern Art, the Whitney, and art galleries in Chelsea. Students may be required to cover museum admission fees.

A study of Italian renaissance art from the early 14th-century frescoes of Giotto to the Mannerist style of the 16th century. Painting, sculpture, and architecture are covered. Works of art will be viewed in their social, historical, and religious contexts, with emphasis on the patronage and original function of the work of art. Special attention will be given to the works of Leonardo da Vinci, Raphael, and Michelangelo. May include a trip to the Metropolitan Museum of Art.

Study of the history and development of architecture in Manhattan from the late 18th century to today. The course is taught primarily on the street and involves firsthand examination of architecture in different neighborhoods in Manhattan including early architecture downtown, Art Deco skyscrapers in midtown, and contemporary architecture in Times Square. The class visits several museums and students may be required to cover museum admission fees. This course may be offered independently or as one half of a Learning Community.

A study of the painting, sculpture, and the graphic arts in France, Germany, and the Netherlands during the Renaissance and Reformation (1400 to 1600) including the work of major artists such as Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, Matthias Grünewald, Hans Holbein the Younger, and Pieter Bruegel the Elder. Focus is on altarpiece painting and sculpture, portraiture, the development of printing techniques, the impact of the Protestant Reformation on art, and the influence of Italian Renaissance art in the north. The class may visit the Metropolitan Museum of Art and the Cloisters. Students may be required to cover museum admission fees.

A study of the painting, sculpture, and the graphic arts in the two territories, Flanders and Holland, during the Baroque period. Special consideration is given to the art of Rembrandt and Rubens as well as the development of landscape, portraiture, and genre painting. The class may visit the Metropolitan Museum of Art and the Frick Collection. Students may be required to cover museum admission fees.

Major works of Baroque painting, sculpture, and architecture in France, Germany, Italy, and Spain. Works of art will be placed within the context of 17th century European history. The class may visit the Metropolitan Museum of Art and the Frick Collection.

A survey of the major artistic movements of the 19th century. French painting is emphasized and placed in the context of the major intellectual, political, economic and social developments. David, Ingres, Delacroix, Daumier, Monet, and Van Gogh are among the artists discussed. Includes trip to the Metropolitan Museum of Art.

Survey of the development in painting, sculpture, and architecture in Europe during the 18th and 19th centuries. Emphasis will be on the development of style in painting, the changing content, and patronage of works of art, the employment of art as political propaganda by the state and its adversaries, and art as a medium for social satire and commentary. Classes may visit the Metropolitan Museum of Art and the Guggenheim Museum.

Chronological survey of major movements of modern art in all media, beginning with the school of Post-Impressionists in the late nineteenth century and ending with an overview of prominent contemporary artists. Emphasis is on European and Russian art before World War II and American art after the Armory Show of 1913. Classes may visit the Museum of Modern Art and exhibitions of contemporary art in New York. Students may be required to cover museum admission fees.

This course will introduce students to the painting, sculpture, photography, and installation art of the New York art world. Study of the theory and criticism current in contemporary art will be accompanied by visits to a wide range of museums, galleries, and artists studios.

Traces the history of American painting, sculpture, architecture, and the decorative arts from the 17th through the 20th century. Emphasis is on examining the influence of European art and defining the unique qualities of American art in the areas of portraiture, landscape, and history painting. This course includes a visit to the Metropolitan Museum of Art. Students may be required to cover museum admission fees.

A survey of the art of Latin America from the pre-colonial cultures of Mexico, Central America, and Peru and their influence on art from the conquest to the early twentieth century.

Introduction to the visual arts of North, West, and Central Africa, from the Nubians in the Nile Valley to the Yoruba people in Nigeria and the Kuba people in the Democratic Republic of Congo. The course will provide an overview of the range of artistic expression among selected ethnic and cultural groups. Diverse media, including wood, ivory, and stone sculpture, metalwork, ceramics, and textiles, will be studied within their social and cultural contexts. The course will examine the everyday and ceremonial uses of art objects, their religious use such as in rites of passage and initiation, funerary and other rituals, and ancestral cults, as well as the social functions of art objects (including bodily adornment and clothing) as expressions of gender roles, systems of hierarchy, methods of social control, and the power of kingship.

This course will present a selective survey of Western Art from Antiquity to the present with a focus on art's social context, the importance of clothing and gesture, and the connections between visual and theater. The course reading will include art historical essays, historical writings on expression and gesture, Renaissance books of manners and Modernist dress manifestos. In addition the class will twice visit New York museum collections (the Frick Collection and the Metropolitan Museum I Costume Institute) to see works of art first hand.

This course examines the history of Asian art from India, China, Japan, and Cambodia. Works of art are studied in their social, cultural, and geographical contexts. The class studies the relationships between architecture, painting, and sculpture to the development of Hinduism, Buddhism, and other religious ideologies of Asian culture. Works of art may be studied on a firsthand basis in the Metropolitan Museum of Art. Students may be required to cover museum admission fees.

Instruction in the use of basic tools of mechanical drawing. Introduction to architectural terminology and graphic presentation of plans, elevations, sections, and perspective views of various forms and spaces. Instruction in rendering techniques concentrating on both freehand and mechanical drawing. Several projects will be required.

This course concentrates on color in art and interior design. Technical and visual attitudes in various media will be explored. Basic and more sophisticated color theories, also pigments and methods of color application will be treated in the studio session.

An introduction to the elements of lighting in the home and for commercial use. Special effects will be covered, as well as types of lighting equipment used in various areas. Students will also have the opportunity to design their own lighting fixtures.

Hip hop shapes today's visual culture, from magazines, clothing and design, to the art world itself. But what is it? Many of the elements of the culture can be traced back to the early 70's with graffiti on trains, and new forms of street dance, poetry and DJ'ing coming out of The Bronx. An afro-centric street culture became a new language which spoke to the world. Exploding in the 1980's with artists such as Jean Michel Basquiat, Fab 5 Freddy and Keith Haring up to the present with Kehinde Wiley, Rene Cox, Hank Willis Thomas, Sanford Biggers and Luis Gispert, etc., who broke race and class barriers in visual arts around the world, fusing the pop sensibilities of Warhol with radical Afro-America aesthetics of abstract style, repetition and representation. The course will combine lectures, slide shows, video and readings; engaging students in discussion and writing on the class topics.

Students in this course produce short films using traditional hands-on approaches to animation. The focus is on generating animations using drawing; collage, and sculpture rather than digital 2D and 3D animation programs. Projects include hand-drawn animations, Claymation, and pixilation (working with actors), with emphasis on skills acquisition and experimentation. Both collaborative and individual animations will be assigned. Historical and contemporary examples introduce each assignment. Students learn to build narratives using storyboards and create films from stills using DSLR cameras. Several animation programs are explored and professional editing software for both video and audio is introduced. No prior art or film experience is required.

This course is a survey of the Native arts of North America as an interrelated set of cultural and geographic regions. The main regional areas of focus will be the Eastern Woodlands and Mississippian cultures; the Great Plains and Great Basin; the Southwest Pueblo peoples and California and the Pacific Northwest and the Arctic. The course will conclude with modern and contemporary Native Arts of North America. The aesthetics and other ideas contributed by Native Americans hold far more interest than just as counterpoints to Western art. Along with courses in Latin American, Pre-Columbian, Asian/Pacific and African Art, this course addresses the need for a global art history, one that integrates Western visual cultures and thereby enriches and realistically balances the art history curriculum. The visual and intellectual cultures of Indigenous America, before and after 1492, have been crucial factories in the cultural development of post-Conquest America, and the world. Critiquing and contesting the notion of Native American culture as extinct or as a pre-Conquest vestige, this course will take a progressive approach to the study of Native American art as a living tradition with roots deep in the pre-colonial past. It will survey the multiple modes of expression that characterize the vast North American continent. The course will include lectures, discussions, multi-media presentations, and museum trips.

Further development of the ceramic techniques taught in Ceramics I. Emphasis is on the design of wheel-thrown forms and the formulation of clay bodies and glazes.

This course introduces students to Environmental & Ecological Art within studio, lecture and field-work contexts. The class fosters understanding of issues of landscape, Earthworks, Land Art, Environmental Art, and Ecological Art practices. Incorporating two and three dimensional as well as time-based approaches, students develop creative artworks dealing with the environment, ecological systems, sustainability and resilience. Field trips include the Newtown Creek Wastewater Treatment Center and artist George Trakas’ adjacent Nature Walk and Smelling Garden; Rooftop Farms or other urban gardens in New York, and endangered waterfront areas of NYC. Students learn examples and theories of Eco/Environmental Art, and conduct research and fieldwork resulting in visual art projects. Pace University is located near the convergence of two rivers with the Atlantic Ocean. Students develop understanding of the natural and built environs of Lower Manhattan, stewardship of this urban habitat is of critical, ethical importance to future sustainability, esp. in relation to climate change. Students develop awareness of the historical New York City environmental landscape: the Lanape Native culture, estuary waters, wildlife, and topography. The course may include presentations by Environmental Scientists and Environmental Studies professionals, and environmental activists. All students are required to keep a journal or sketchbook. Critiques are frequent opportunities to share in an “open-laboratory” art environment. Textbook: Linda Weintraub, To Life: EcoArt in Pursuit of a Sustainable Planet, Uni. of Cal. Press, 2012.

Public Art in the Urban Context is a civic engagement art course that involves a partnership between the Pace Art Department, the New York Cares organization and the local New York City public schools. In this relationship, the local schools are the “client” and “commission” a site–specific artwork to be designed and produced by the Pace Students in the course. Students will be guided through the design process and work together to meet with the client, research the site and its community, create and present a professional proposal to the client, negotiate changes and design restrictions, create a working schedule, learn to scale their work and prepare the site and produce the work within the time available, and finally document the work to create an artist portfolio.

King Kong, Anomalisa, The Fantastic Mr. Fox, and Wallace and Gromit are familiar commercial examples of this style of animation, which involves sculptural characters acting frame by frame in miniature sets. This course focuses on these traditional stop-motion approaches to 3D animation, including Claymation and related approaches of Object and Puppet animation. A focus on character development and storyboard design prepares students for successful animations. A variety of sculptural materials and construction techniques are introduced, including using movable armatures and working with polymer clays. Instruction is provided in set design and construction, including lighting design for animation. Students learn to use professional capture and editing software and produce both collaborative and individual animations. Historical and contemporary examples are studied in preparation for all assignments. We produce three animations in the course of this class, learning a different approach with each assignment. Narrative structure is discussed and developed through storyboards. Scripting, lighting, and set design are studied, as are legal concerns such as permits, release forms, and copyright laws. Students will learn to use two types of capture software, and how to edit and add audio and titles in Final Cut Pro or Premiere. Cameras, iPads, computers, and editing software are available for your use through the Art Department, as are basic sculpture tools. A limited number of tripods and photographic lighting kits are also available for checkout. Most art supplies and materials need to be purchased by individual students: for most collaborative projects, students split the cost of supplies so that the cost per student is reasonable.

Students in this course study a range of drawing and collage techniques and how to adapt them for animation. Disney's Twelve Principles of Animation are introduced. Students develop drawing skills and an awareness of drawing styles through a series of preliminary assignments. Basic training in figure drawing is provided. Perspective, natural movement, line of action, and personal approaches to style are covered. Animations are completed using industry standard capture and editing software. Students complete the class with their own hand drawn and cut-out animations.

ART 238 is a second course in watercolor painting, including materials, techniques, and an overview of the diverse cultural traditions of this vulnerable art medium. This class will consist of in-class painting assignments, group discussion, field trips, slide lectures, and weekly homework assignments emphasizing skill building and creative exploration. Advanced projects will use water-based media including watercolor and gouache. A continuation of ART 138, students in this section will continue to develop their skills and increase their technical knowledge of the medium. Assignments will be more open and self-directed to encourage students to evolve a more personal approach technically, formally and conceptually. An individual midterm critique will be provided to students to help develop strengths and address weaknesses.

This course is designed for students with previously acquired basic drawing skills; it introduces concepts of style, composition through both traditional and experimental approaches. Using a variety of media, drawings are developed based on selected themes. Students work on sketches, studies, and sustained compositions.

Each student creates a section of a graphic novel inspired by specific places, characters and vents. These are determined by the class participants and the instructor. Examples of graphic novels and other narrative and text-based art forms are studied. Through semester-long projects, students develop their drawings, design, and storytelling skills.

Studies of the history of photography in the 19th and 20th centuries with an emphasis on the major stylistic and aesthetic movements in the field. The invention and development of various photographic techniques as well as the careers of major American and European photographers are covered. The relationship between photography and other art media, such as painting, is also addressed. Classes may visit the International Center of Photography and the Museum of Modern Art. Students may be required to cover museum admission fees.

An advanced course in painting. The human figure will be a central theme: students will be encouraged to plan and complete works in contemporary idioms and media.

This course introduces students to advanced techniques in the management of photographic images from developing a concept through control processes of lighting, composing, and exposing negatives to application of advanced manipulations in the darkroom and final presentation of photographic artwork. Students will be encouraged to develop personal areas of interest in photographic art. Emphasis will be placed on development of thematic portfolios.

In this class, you are a photographer. You create images focusing on similarities between the photographers creative process related to a novelists vision. You take photographs in order to understand and apply the process of photography as a vehicle for personal expression. You examine the relationship between the self and identity, the individual and community engagement, global culture and redefining identities, and the evolving practice of the role of the image maker in today’s society.

This course will introduce students to the practice and ideas of documentary photography through the completion of a project or series of related photographs. Students will be introduced to digital and analogue processes in color and B&W, and to trends and ideas in contemporary and historical documentary work. With greater skills and context in place, students will begin to put together a photographic project. They will be required to present work for critique every other week, complete a midterm presentation and project proposals, and complete the corresponding body of work self-published in published form.

Photographs speak through analogy. By making the act of photographing part of your daily life, your experience of the familiar changes- providing the basis for new inspiration and direction in your work. Overlooked details, forgotten forms, and previously unnoticed relationships between people, places, and things will surprise and intrigue you. The daily practice of making photographs is a way of "slowing down time" and "making sense" of the world. In this course, students are required to photograph every day, regardless of other commitments, and to keep a visual diary of their process. This daily practice clarifies when, why, and how to transform the "decisive moments" of ordinary experience into photographs that truly "speak" to others. Weekly class discussions provide support and encourage ongoing refinement of photographic technique. In addition to attending all class sessions, students are required to complete a writing project about photographic practice under the supervision of the Pace ICP Coordinator. This course meets at the International Center of Photography on Essex St. in Manhattan.

Throughout the history of photography, portraitists have looked to fashion for inspiration and fashion has turned to the camera for edification. Both disciplines begin with an idea about how to represent the model in space. Elements of wardrobe, makeup, attitude and personal style are signifiers that are both coded and revealed. Fashion images catalog shifting aspirations around consumerism, body image, celebrity, sexuality, gender expression, pop culture, and rebellion. In this class, we will explore the nexus of fashion and portraiture by going to the source of our inspiration as photographers and our desire as viewers. Slide lectures will incorporate a history of fashion photography with contemporary topics, including the rapidly changing modes of distribution from print to online media. In addition, we will work in the studio each week to develop lighting techniques, art direction, ease with models, and creative themes. Students will complete photographic projects in still media and present work through in-class critiques. In addition to attending all class sessions, students are required to complete a writing project about photographic practice under the supervision of the Pace ICP Coordinator. This course meets at the International Center of Photography on Essex St. in Manhattan.

The study of classic typefaces of this century. Procedures for the design and layout of all sorts of copy will be practiced; this will include the use of hot and cold type and manual typesetting. Particular attention will be given to the appropriateness of design and legibility of body, display, and title faces. Students will be encouraged to produce both standard and innovative layouts for all visual media.

This introduction to the fundamentals of studio lighting focuses on practical applications for portraiture and still-life photography. In-class demonstrations cover the use of tungsten lights and strobe equipment, as well as diffusing light with reflectors and umbrellas. Students learn to consider the direction of light, proper exposure, and the effect on contrast and color balance. Topics include the properties of various lighting conditions and color temperature. In addition to attending all class sessions, students are required to complete a writing project about photographic practice under the supervision of the Pace ICP Coordinator. This course meets at the International Center of Photography on Essex St. in Manhattan.

Students continue learning the printmaking processes introduced in Printmaking I, with more advanced assignments, greater creative freedom, and projects incorporating new technology, including a laser cutter.

This course concentrates on the pleasures and techniques of taking formal and informal Individual Portraits and small to medium sized Group Portraits. Students will be guided by a professional, published photographer who has worked in the medium for over 40 years. The purpose of the class is to inspire and give each student the skills to create portraits from their own perspective, often breaking the "how to" rules of classic portraiture. They will learn basic elements of individual and group portraiture, as well as discovering character, deciding location vs. studio, and determining lighting, the use of props, posing, make-up, gesture and dealing with the age-old dilemma of flattery as opposed to stark realism. In addition to attending all class sessions, students are required to complete a writing project about photographic practice under the supervision of the Pace ICP Coordinator. This course meets at the International Center of Photography on Essex St. in Manhattan.

Featuring fine-art papers, hand-applied archival emulsions, and simple techniques, historic photographic processes present compelling alternatives to both traditional silver methods and modern digital prints. In this hands-on course, students produce enlarged digital negatives that are used for contact printing in various processes, including cyanotype, van dyke brown, and palladium emulsions. Blending the best of both modern and antique methods, students initially take advantage of working in the digital lab to create new enlarged negatives from original film negatives or slides, prints, and/or digital files. The class then prints these negatives in the traditional wet darkroom to create exciting, unique, handmade prints that will stand the test of time. In addition to technique, this course presents the historical context of these processes. Critiques of student work examine the aesthetic qualities of images rendered through the contemporary application of these time-honored processes. Students are required to provide fine-art paper for printing. All other materials are supplied. In addition to attending all class sessions, students are required to attend three lectures or exhibitions at ICP and write three 2-page double-spaced typewritten response/review papers and turn these in to the Pace ICP Coordinator. This class meets at Pace for four weeks and at the International Center for Photography, (1114 Avenue of the Americas at 43rd Street) for ten weeks.

Ultimately, the best way to learn to see color in photography is by printing in the color darkroom. This course teaches students how to unleash the power of color in their work by integrating instruction in aesthetics and technique into printing sessions, class critiques, and lectures on color photography. By printing negatives on ICP's automated Kreonite processor, students have an opportunity to learn how color works in a hands-on way that just isn't possible in the digital lab. Many photographers prefer printing from color negative film because of its flexibility, simplicity, and the superb reproduction of both subtle and brilliant colors. Students who move on to digital image making later always find they have an advantage over those who have never made an analog C­ print.

Achieving satisfying and consistent results with digital technology involves much more than simply hitting the “print” button. This hands on course covers the fundamentals of image editing, including RAW conversion, localized adjustments, and color to black-and-white conversions, as well as printer profiles, driver settings, and soft-proofing. With an introduction to basic elements of process control, students learn how to efficiently approach troubleshooting options. By continuously applying these techniques and concepts to their own images, students hone the skills necessary to ensure that their prints accurately reflect both the technical and aesthetic qualities of their digital images. Weekly class discussions provide support and encourage ongoing refinement of photographic technique. In addition to attending all class sessions, students are required to complete a writing project about photographic practice under the supervision of the Pace ICP Coordinator. This course meets at the International Center of Photography on Essex St. in Manhattan.

This course builds on the principles and skills of Graphic Design 1 to further develop creative processes of designing for individuals or organizations. The class will explore the development of a fictional client’s visual concepts and aesthetics through logo or identity design, typography, package design, and page layout for print and web based formats. Each stage of this process will be advanced through visual research, program skills, proposals, presentation and critique. Students will work at times in groups to experience a team process of creative decision-making. The course will give the student a real world sense of the professional graphic design environment.

This course will introduce students to the fundamentals of creating virtual three-dimensional objects, sculptural spaces, games and worlds. We will cover introductions to 3D Modeling, Animation and VR (Virtual Reality). The class will learn how to employ a workflow from 3D modeling application to a real-time game engine designed to create a variety of virtual experiences ranging from the artistic to basic game play. 3D sculpting, character development, simple scripting, navigation and storytelling will be learned and explored throughout the class. Students will have access to VR workstations and equipment for testing and presenting their work. This is a beginning course for students who would like to experience the creative 3D construction and immersive media that entices many newcomers to the potential of virtual art worlds and game development.

This course provides an introduction to "Live" or Performance art as it developed in a visual arts tradition. Students discuss the crossover with other performing arts such as theater, dance, and music; examine international and historic performance practices; and explore the influence of new media. Students become acquainted with various issues relevant to performance art including live-ness, audience, performance in everyday life, identity politics, performance for the camera, documentation, folk traditions and ritual, intervention, endurance, public space, relational aesthetics, community activism, and participation. Students develop, perform, and document individual and collaborative woks, and attend performance art events. This course introduces student’s to professional practices through visits to artist’s studios, attendance at gallery exhibitions, and attendance at lectures by professional artist outside of class time.

Students learn principles of animation for video and create their own projects using video animation software. The course includes skill-building exercises in storyboards, digital drawing, greenscreen, compositing, tracking, rotoscoping, typography, video, sound, and 3D objects. Students with experience in other art media like drawing and sculpture may also wish to animate these objects through video.

This course provides students with basic skills with which to design and code their own websites on the Macintosh platform. Focus is on the construction and design of screen interaction and navigation, and design for media-specific limitations. Instruction includes basic xHTML, and CSS structure, text, graphics and animation-introducing applications for the production of those various elements as well as their particular challenges. Students acquire good design and visual communication skills, through pre-production and classroom discussion. Students endeavor to attend lectures by professional digital artists outside of class time, to provide inspiration and knowledge about the digital arts.

The focus will be on creating artwork and design with digital imaging software, Adobe Photoshop and Image Ready. Advanced techniques will be covered, emphasizing the creative process and conceptual thinking. Evaluation will be based on technical accomplishment and strong visual design, and students will be guided through self-evaluation and group critiques.

Imagine the city is a canvas and your phone is a window into the new dimension. This class is an introduction to the events, images, sound, video and 3-D objects that are accessed on location around New York City using Google maps, GPS media and augmented reality. The course explores the potential of maps to build spatial imagery and narratives. Students learn digital concepts and techniques to produce and position media online, viewable on mobile devices such as smartphones and iPads. The course includes outdoor activities, group projects, as well as reading on the subject. Course Fee: Will cover the continuing upgrade and the purchase of new software programs associated with the course. Currently these are Adobe Creative Cloud, Final Cut Pro X, and Layer Augmented Reality and Blippar Developer accounts.

Working primarily from life, students learn to paint the human figure. Formal considerations such as proportion, volume, composition, and representing skin color and translucency are covered, as is the expressive potential of the human subject.

This course initiates a process of discovery into the ways we as a society communicate our beliefs and values through the artifacts we make. We will focus on understanding modes of visual language, descriptive processes, and knowledge of contemporary and historical works and issues. Topics will include: the influence of the computer and computer generated imagery, mythologies from different cultures and their shared imagery, social responsibility of the consumer in a world of image and branding, and the believability of photographs and contemporary media.

This course will introduce students to the principles of animation using various software applications including Adobe Premiere and Macromedia Flash. The timeline sound, rotoscoping, scanning, masking, storyboards, moving text, the camera, and effects are among the subjects covered. Students will create narrative and experimental works, publishing them on DVD. Note: Access to a digital video camera is helpful but not required.

Students work outside the studio from direct observation. Different methods and approaches are used to explore the wide-ranging possibilities of plein-air drawing and painting. Invention and unique responses are encouraged. Sites may include Central Park, City Hall Park, Grand Central Station, public libraries, museums and galleries, subways, and locations on campus. NOTE: There is no course fee but students will be responsible for subway and bus fare as well as any museum entrance fees.

An in depth study of casting and mold making. This course will cover waste molds as well as re-usable multiple part molds made using a range of materials and processes. Body casting, materials, and the use of multiples will be used to investigate content and visual language in sculpture.

This course will introduce the concepts and techniques that are inherent to the large format camera. Class projects and weekly assignments, designed to serve individual interests, will introduce basic controls and camera movements. The view camera’s unique capability to exercise an extraordinary amount of control over the image and its strength as a tool for visualizing will be emphasized as a critical aspect of the student’s perceptions, interests and creative expression. Demonstrations and hands on practice during class sessions will prepare students for weekly shooting projects. The primary focus of this class will be upon student personal work.

This course offers a diversified and comprehensive overview of the fine arts, architecture, culture, customs, history, and language of France from the Middle Ages to the present. Within an historical framework, students are introduced to important artists, monuments, styles, movements, and trends that have shaped one of the richest cultures of the Western heritage. Course includes a visit to the Metropolitan Museum of Art.

This course is for beginners seeking an introduction to both camera handling and basic darkroom techniques through color photography. Topics include camera operation, principles of exposure, film development, printing, and picture content. Students experiment with various lighting conditions using both color negative and slide films. Weekly assignments and lectures on historical and contemporary artwork explore the technical and aesthetic possibilities of color photography. The majority of class time is devoted to working in the darkroom and building printing techniques. In addition to attending all class sessions, students are required to attend three lectures or exhibitions at ICP and write three 2-page double-spaced typewritten response/review papers and turn these in to the Pace ICP Coordinator.

Rural, urban, imagined, constructed, interior, aerial-in this individualized course, students define and further develop their personal vision of the landscape. Through weekly presentations, we examine images that challenge traditional notions of the genre, offering diverse ideas using atypical vantage points. Discussion themes include the creative process, personal expression, contemporary trends, and using the camera as an instrument of discovery and communication. The emphasis is on weekly critiques and building a final project. In addition to attending all class sessions, students are required to attend three lectures or exhibitions at ICP and write three 2-page double-spaced typewritten response/review papers and turn these in to the Pace ICP Coordinator.

Ultimately, the best way to learn to see color in photography is by printing in the color darkroom. This course teaches students how to unleash the power of color in their work by integrating instruction in aesthetics and technique into printing sessions, class critiques, and lectures on color photography. By printing negatives on ICP's automated Kreonite processor, students have an opportunity to learn how color works in a hands-on way that just isn't possible in the digital lab. Many photographers prefer printing from color negative film because of its flexibility, simplicity, and the superb reproduction of both subtle and brilliant colors. Students who move on to digital image making later always find they have an advantage over those who have never made an analog C­ print. In addition to attending all class sessions, students are required to attend three lectures or exhibitions at ICP and write three 2-page double-spaced typewritten response/review papers and turn these in to the Pace ICP Coordinator.

Throughout the history of photography, portraitists have looked to fashion for inspiration and fashion has turned to the camera for edification. Both disciplines begin with an idea about how to represent the model in space. Elements of wardrobe, makeup, attitude and personal style are signifiers that are both coded and revealed. Fashion images catalog shifting aspirations around consumerism, body image, celebrity, sexuality, gender expression, pop culture, and rebellion. In this class, we will explore the nexus of fashion and portraiture by going to the source of our inspiration as photographers and our desire as viewers. Slide lectures will incorporate a history of fashion photography with contemporary topics, including the rapidly changing modes of distribution from print to online media. In addition, we will work in the studio each week to develop lighting techniques, art direction, ease with models, and creative themes. Students will complete photographic projects in still media and present work through in-class critiques. In addition to attending all class sessions, students are required to attend three lectures or exhibitions at ICP and write three 2-page papers in response and submit these to the ICP Coordinator.

A study of Modern and Contemporary art in Africa from the 1950s to the present. Works in diverse media will be studied within the context of the rapidly changing social and political history of developing African nations. The relationships between art and the struggles to become self-governing modern nation-states as well as the exchange between African art and Western Modern and Contemporary art will be studied.

This course introduces the creative discipline of packaging design. Students will analyze and solve package design problems relating to branding, form, material and production constraints using both traditional art techniques and digital technologies. They will address structural challenges through hands-on work with paper and other materials. They will learn to fabricate high quality mock-ups (comps) of their designs, and to document their work. Students will also learn to present and discuss their work, and to provide constructive feedback to others, during class critiques.

How does a creative professional find and maintain work? What can a student do to prepare? What are common expectations and what can be negotiated? How is value determined and rewarded? These are a few of the questions students ask as they begin to think of their lives beyond graduation. This is an upper level course for art majors and others preparing to graduate and enter the job market.. This course will consist of in class workshops and lectures, several guest lecturers, weekly reading and writing assignments and a final multi-platform portfolio and resume presentation designed to help each student gather the conceptual and practical tools they need to clarify and then realize their own creative employment goals.

Plan and elevation and perspective renderings of interior spaces, as well as consideration of accessories, window treatment, floor coverings, and lighting for contemporary living. Some three-dimensional model-building will be included.

Plan and elevation and perspective renderings of residential spaces. Emphasis on materials used in the home. Guest speakers from the profession will give the student alternate perspectives on creative design.

The Project Studio is an interdisciplinary studio course for intermediate and advanced students. Students develop a self-directed project in the medium of their choice, with the oversight of the instructor. Students may work in drawing, painting, digital, photography, sculpture or any combination that compliments the proposed project. Experimentation and a personal approach to the chosen medium are encouraged. The instructor works with each student individually to define and develop a challenging project, providing visual references and relevant readings. Group and individual critiques provide a critical framework. A visiting critic is invited to view and discuss student work. ART 306 and ART 307 and ART 308 may be taken alternate semesters.

The Project Studio is an interdisciplinary studio course for intermediate and advanced students. Students develop a self-directed project in the medium of their choice, with the oversight of the instructor. Students may work in drawing, painting, digital, photography, sculpture or any combination that complements the proposed project. Experimentation and a personal approach to the chosen medium are encouraged. The instructor works with each student individually to define and develop a challenging project, providing visual references and relevant readings. Group and individual critiques provide a critical framework. A visiting critic is invited to view and discuss student work. Project Studio may be taken up to three times for credit under separate course numbers: ART 306-Fall New York, Spring Pleasantville; ART 307- Spring New York, Fall Pleasantville; or ART 308 as a tutorial either semester in New York and Pleasantville.

Designed to broaden the techniques and concepts learned in Sculpture I, this course will introduce students to new materials and to problems involving the three-dimensional rendering of the human form. Modern and contemporary sculpture will provide a background to these studies.

An advanced course in drawing which concentrates on the human figure and composition. Skeletal structure and surface anatomy are studied. Students explore a variety of materials and techniques. Compositional problems are emphasized.

Open to students who have had previous experience drawing the live human figure, this course will permit students to concentrate on advanced level problems involving scale, appropriate media, deliberate exaggeration and distortion, etc. The study of surface anatomy begun in ART 241 will be continued.

Students will further develop skills and increase technical knowledge of the medium. Assignments will be open-ended and self-directed to encourage students to evolve a more personal approach technically, formally, and conceptually.

The Animators’ Studio affords students with prior experience in stop motion animation the opportunity to develop more advanced skills in the medium. The focus is on producing a single self-directed animation from conception to finished film in the course of the semester. Students choose among approaches including hand drawn, traditional cel animation, cut-out animation, animations using live actors (Pixilation), Claymation/puppet animation, or combinations of the above. A survey of commercial and independent films highlights professional animation practices. The use of stop motion capture software is covered in depth, combined with an analysis of filming techniques. Instruction is provided in more complex video and audio editing including compositing, Rotoscopy, masking, and timing for voice overs. Access to all basic equipment and software is provided.

This class explores the fundamental techniques and applications of capturing, manipulating and outputting digital photographic images. Class covers basic photographic principles, color theory and elements of composition. For the processing and enhancement of digital photographs, students learn the basics of Photoshop. Critical and creative thinking are developed through the exercise of aesthetic judgment and reflective writing.

Students explore the work of artists whose images deviate from traditional notions of the nature of the photograph. Aesthetic rationale behind specific techniques of image manipulation is studied. Students use combined media in the execution of a series of assigned photographic projects.

Students will expand their video production skills while increasing their knowledge of the history and theory of video. This course builds on a fundamental knowledge of production and postproduction in video to develop the student’s interest in the medium from both individual and collaborative perspectives. Shorter assignments expand on individual students skills in camerawork, sound, and editing. Green screen capture and composite video editing are introduced. The rich potential of visual storytelling is explored through longer projects which require student collaboration and a film crew model. Throughout the course, historical precedents and contemporary examples are viewed and considered as possible avenues for student exploration. Note: Access to a digital video camera is helpful but not required; students have access to Art Dept equipment.

Expanding on the concepts and techniques introduced in Video I, this course will explore the nature and purpose of narrative video and film through exercises, screenings and several group projects. Students will be introduced to strategies of narrative –both conventional and experimental, through the use of storyboards and treatments, plot development, voice overs, pacing, suspension of disbelief, and denouement. Students will engage with a range of approaches to the short narrative found in video and film, such as biography, parallel narratives, conceptual video, mocumentary, parody, and the remake.

Students learn how to create artwork-using vector based drawing software. Emphasis will be placed on creative problem solving, design concepts, and critical thinking as well as technical virtuosity.

Through an exploration of the fundamentals of computer programming, students will relate software concepts to principles of visual form, motion, animation, and interactivity. By generating and manipulating images with code, students will be introduced to the technical aspects and concepts that are found in most programming languages. The ability to read and write code and use your own software as an expressive tool for making art is a fundamental first step to understanding more advanced applications like computer vision, interactive environments, and game development. The main content of this course will be hands on demonstrations and discussions about the meaning and importance of software art as a medium. No coding experience necessary.

Internships in museums, art galleries, auction houses, design departments, and art studios are coordinated by the art history and studio art faculty. The goal of the internship is to provide pre-professional experience working inside a cultural institution, art-related business, or studio. The internship must be approved and supervised by Fine Arts faculty advisor. The student must submit written reports in addition to completing the work portion of the internship.

With the approval of the supervising faculty member, the department chairperson, and the academic dean, students may select an area of study in art history or studio art that is not included in regular course offerings. For art history, an extensive research paper is required. For studio art, a work or series of works that extend beyond current course offerings is required.

This course is designed to give students an understanding of the principles and theory of Visual Communication as it applies to technology. When completed, students will be able to brand websites and applications. Students will explore the meaning of Visual Design, how to identify its application, develop their own creative process, how to be a practitioner of design including having the appropriate vocabulary, to articulate ideas and concepts in a critique setting, analyze/critique Visual Design using sound principles, and iterate upon original work to bring it professional standards.

Advanced-level seminars required for all art history majors. Open to students in other departments with permission of the instructor. May include visits to museums and galleries to see works of art related to the seminar topic. Seminar topics vary from year to year and include lectures and discussions of readings, as well as student presentations of research projects.

Critical analysis of a wide range of approaches and methodologies that have been applied to the history of art. Seminar discussions will focus on a set of readings that are arranged to illuminate the chronological development of writing on art and that cover a broad range of art topics from Roman to Gothic to Modern Abstract Expressionism. The authors studied may be artists, historians, Marxists, Feminists, art historians, and art critics. Required for all art history majors on the New York campus. Enrollment with permission of the instructor only.

Students may participate in the Pace University Honors Program and complete a major in art history. Under the supervision of a faculty member in art history and with the approval of the Campus Honors Committee, the students may engage in an independent research project during the senior year. To be eligible for the program, the student's cumulative scholastic index must meet these standards of the Honors Program. Students are encouraged to enter the Honors Program by their junior year.