Foundations of Art courses are designed for all university students with an interest in the visual arts. These courses explore the nature of the visual arts through direct experience with a variety of art media. Lectures, discussion, critiques, and extensive studio work are directed toward the development of design principles and an understanding and appreciation of the visual arts and their role in the expression of personal and cultural values.
Prof. Jernegan. This course focuses on design elements and principles of organization within the context of contemporary ceramic art. Students will be introduced to a variety of ceramic materials, processes and aesthetic concerns. Emphasis is given to the relationships between ceramics and other art mediums.
Prof. Koss. This course focuses on the history and theory of glass art, and also introduces basic techniques with attention given to issues of composition, perception, communication, and expression. Emphasis also will be placed on the relationships between glass art, other art mediums, and the history of art.
Prof. Harris. Prof. Collier. An introduction to color and color theory in painting. Since color constitutes a major means of expressive communication in the visual arts, the painting projects encourage personal responsiveness to color and explore how it enriches our understanding of the natural world.
Prof. Erickson. This course focuses on the history and theory of photography, and also introduces basic techniques, with attention given to issues of composition, perception, communication, and expression. Emphasis also will be placed on the relationships between photography, other art mediums, and the history of art.
Prof. Cole. This course is designed as an introduction to a wide range of techniques in printmaking. It is developed to give the student an overview of the possibilities with the processes of relief and intaglio printing. Through a series of demonstrations, projects, critiques, and slide lectures the student will explore the rich diversity of the medium and become exposed to the strong tradition of printmaking. Areas covered include: linoleum cuts, woodcuts, collagraph, mono type, dry point, engraving, and etching.
Prof. Crosson. An introductory study of three-dimensional form and spatial relationships making use of a variety of media and processes. Slide lectures supplement studio work and present examples of contemporary sculpture within a historical context.
Prof. Jones. This course introduces students to different aspects of design in the digital realm from digital imaging to time-based media. Visual skills, critical voice and basic computer skills are necessary for this class.
Staff. For majors and non-majors. In this course we will be working from life. The goal is to acquire and develop conceptual and technical skills necessary to translate three dimensional forms to a two dimensional surface.
Staff. Prerequisite: ARST 1050. This course will further explore the primary elements of drawing: line, form, value, and texture as a means of perception, understanding, representation, and communication. Emphasis will be placed on creating a correspondence between subject, method, and intent.
Prof. Harris. Prof. Collier. Prerequisites: ARST 1050 and 1060. Incorporating color theory and experimentation, the course will explore the expressive and conceptual potential of color use in drawing media.
Prof. Harris. Prof. Collier. Prerequisites: ARST 1050 and 1060. An exploration of drawing in both an historical and contemporary context as a means of perception, analysis, representation, and communication. Course work investigates the relationships of the subject to technique and the visual to conceptual. Emphasis is placed on providing a systematic analysis of each subject through the use of multiple approaches.
Prof. Harris. Prof. Collier. Prerequisites: ARST 1050 and 1060. A study of the anatomy and structure of the human form with a view toward understanding and employing the human image in its historical, humanistic function as a vehicle of expression.
Prof. Jernegan. Prerequisite: ARST 1130. The course focuses on the use of the potter’s wheel in developing ceramic forms. A variety of techniques and forms will be covered with emphasis on their aesthetic and conceptual potential in the field of ceramic art. Historical and contemporary approaches are presented in slide lectures and demonstration.
Prof. Jernegan. Prerequisite: ARST 1130. The course focuses on hand working processes with plaster molds and use of extruded elements in the development of original works. Press molding and slip casting will be covered. Students participate in developing clays, glazes and firing procedures.
Prof. Koss. Prerequisite: ARST 1170. The goal of this class is to achieve a functional understanding of glass art. This general course focuses on blowing, casting, and forming glass. Attention is given to using the approaches to glass for individual expression.
Prof. Harris. Prof. Collier. Prerequisite: ARST 1250. This course focuses on the formal and expressive qualities of both nature-based and pure abstraction. Abstraction is investigated through historic and contemporary ideologies, technical issues and the use of non-traditional materials. Systematic exploration of a variety of approaches will serve as a structure for development of the student’s own goals and sensibility.
Prof. Harris. Prof. Collier. Prerequisite: ARST 1250. An exploration of basic visual and philosophical concepts involved in creating paintings with an introduction to the technical aspects of painting in oils, i.e., preparing a canvas, media, and mixing and applying paint.
Prof. Erickson. Prerequisite: ARST 1350. A continuation of traditional photographic procedures exploring more complex visual and technical issues, augmented by the employment of supplementary imaging tools and alternative processes.
Prof. Cole. Prerequisite: ARST 1370 or two courses in drawing. An in-depth exploration of the printmaking medium covering technical, historical, and conceptual issues. A strong emphasis is placed on students developing a personal voice through their work. An intensive study in the art of stone and plate lithography.
Prof. Cole. Prerequisite: ARST 1370 or two courses in drawing. An in-depth exploration of the printmaking medium covering technical, historical, and conceptual issues. A strong emphasis is placed on students developing a personal voice through their work. An intensive study on fine art silk screen.
Prof. Crosson. Prerequisite: ARST 1490. This course explores and expands on the basic concepts, techniques and processes of sculpture. Students work with projects that develop understanding of both sculptural ideas and materials. A wide variety of media and approaches are explored in this course, including wood, plaster, welding and casting metals, mixed media, and working from the figure.
Prof. Jones. This course emphasizes interactivity and interface design with respect to multimedia and the World Wide Web. Students will create interactive based projects that combine visual and textual elements in creative, critical and innovative ways. Questions of navigation, functionality, usability, and interaction will be technically and theoretically addressed.
Staff. Prerequisite: approval of instructor. Course work for additional credit in conjunction with 200- or 300-level studio courses.
Prof. Harris. Conceptual observation drawing utilizes advanced rendering techniques and a variety of visual sources in order to explore the connection between representation and communication. Emphasis is placed on creating a correspondence between subject, method, and intent.
Prof. Erickson. This course provides a laboratory to develop student artwork through critical thinking and research. Specifically, the course sets out to equip students with the necessary tools and understanding to carry out independent or collaborative research in relation to their art making. By developing partnerships with community organizations that have a need for visual representations related to their cause, we will work to fulfill their needs while simultaneously producing artwork that is meaningful to the student’s artistic practice, as well as socially relevant. All students are required to engage in 20 hours of community service and community service is an integral component of the course. Prerequisite: any 1000 level course in studio art (ARST).
Prof. Jernegan. Prerequisites: ARST 1130 or equivalent. This course will explore the rich interplay between the visual character of a ceramic form and the surface pattern, color or imagery that covers it. Students will work with vessels, free-standing sculptural forms and wall or environmental installations as they utilize a range of techniques and firing processes to develop and apply imagery. The use of painting, drawing, stencils, mono printing, transfers and ceramic decals will be covered. Emphasis will be placed on works that develop a visual or conceptual dialog between these two aspects of the ceramic object.
Prof. Jernegan. Prerequisites: None. This 3 credit studio art course examines the nature of the clay New Orleans is built on, from the perspective of geologic sedimentation, an urban living environment and as a material for ceramic art. We will dig clay from four sites in the city, process it in the studio and use it as the material for original ceramic artworks. Working individually and in small groups students will develop new pieces that explore issues of identity, change and risk in the New Orleans region. Guest speakers from the Earth Science dept. will present current research on the processes of sedimentation and land building, as well as the challenges of sea level rise, subsidence and climate change on this unique delta. As a studio arts course it will cover the chemical makeup and application of clays and emphasize creative thinking and the development of skills and original works.
Prof. Jernegan. Prerequisites: ARST 2130. Further examination of the aesthetic and conceptual applications of the ceramic medium. The development of individual concerns and vocabulary of form will be stressed. Clay and glaze formulation will be covered. Students are responsible for developing clays and glazes and firing their work.
Prof. Jernegan. Prerequisites: ARST 2130 or 2140. Development of advanced throwing techniques and concepts related to creating original works on the potter’s wheel. More complex forms, as well as glazing and firing processes will be covered. Lectures, demonstration and critiques will supplement studio work time.
Prof. Jernegan. Gas, wood, and electric kiln design, and construction. Firing theory and process will precede specific analysis of the artist’s needs, and demonstration and practice of kiln construction and firing.
Prof. Koss. Prerequisites: ARST 2170 and 2180. This class further develops the student’s ability to study methods and processes for forming molten glass into sculpture. Instruction in glass casting and blowing is taught with a focus on creating specific ideas.
Prof. Harris. Prof. Collier. Prerequisites: ARST 2270 and 2280. Principles of picture building and creative composition with a study of media and methods that best stimulate individual expression and predilections.
Prof. Erickson. Prerequisite: ARST 2350. Emphasis will be placed on advanced exposure and developing controls and printing techniques. Non-traditional and non-conventional image-making processes will be explored, such as multiple printing, tinting, toning, non-silver techniques, and the Sabatier effect. The use of medium and large-format equipment will be introduced, as will advanced studio lighting techniques.
Prof. Erickson. Prerequisite: ARST 2350. Building on a foundation of traditional photography, students will be involved with digital imaging as another tool in the process of fine art photographic printmaking. Digital capturing, editing, and outputting will be explored.
Prof. Cole. Prerequisites: ARST 2370 and 2380. A detailed study of the variety of printmaking methods, exploring conceptual and/or personal visions. A strong emphasis is placed on combining techniques, expanding material vocabulary, and experimenting with new processes. Seminars covering both historical and contemporary issues of printmaking will be presented to broaden the students' critical dialogue.
Prof Cole. This course is an in-depth exploration into the Art of the Book and Book Arts. The course will incorporate various binding techniques with conceptual and formal projects. A History of Book Arts will be presented as well as examples of popular trends in hand made books. Instruction will be given on setting type and using the letterpress. Also covered will be page design, page flow, and digital development of images and text. Readings will accompany slide lectures and demonstrations.
Prof. Crosson. Prerequisites: ARST 2490 and 2500. Further exploration of metals fabrication and casting, carving techniques, additive processes, and environmental art. Seminars, field trips, and slide lectures will supplement the course.
Prof. Jones. Prerequisite: ARST 1550. This is a class with an emphasis on digital video, animation and image sequencing. Students will be expected to create time-based projects that combine visual and temporal elements in creative, critical and innovative ways.
Prof. Jones. Prerequisite: ARST 2550. This is a class with an emphasis on book design, multi-page documents, and large scale print graphics. Students will be expected to create print-based projects that combine visual and typographic elements in creative, critical, and innovative ways.
Prof. Mysock. Mural Painting and Drawing (a Service Learning course) explores the role of public art in the (re)development of New Orleans communities by combining the practical, perceptual, and technical challenges of large-scale drawing and painting with regular service activity. Tulane artists enrolled in the course spend nearly five months off-campus engaging with a community partner, acquiring the habits necessary to establish meaningful civic and creative relationships. Students also investigate artistic creation within a collaborative environment and build a comprehensive manual that documents the logistics of large-scale public art projects. Most importantly, the Mural Painting and Drawing course teaches young artists how they can participate in the renewal and preservation of the collective bonds that define a community.
Prof. Bartlett. Prerequisite: approval of instructor. Studio internships are available for individual projects done in association with various firms and institutions in New Orleans. Students will work under professional supervision at these sites, and consult with an art studio faculty member. Requirements include a written report on the experience, and an evaluation by the supervisor. For elective credit only.
Prof. Jernegan. Prerequisites: ARST 3130 and 3140. Advanced level work for ceramics majors, emphasizing individual expression and development of ideas. Independent project work within a class situation.
Prof. Koss. Prerequisites: ARST 3170 and 3180. Continuing instruction in glass casting and forming techniques. The emphasis will be on professional presentation of specific ideas.
Prof. Harris. Prof. Collier. Prerequisites: ARST 3250 and 3260. Advanced work for majors.
Prof. Erickson. Prerequisites: ARST 3350 and 3360. Individual projects in a class situation. Each student explores special interests with the opportunity of working with other advanced students doing diverse projects arrived at in consultation with faculty.
Prof. Cole. Prerequisites: ARST 3370 and 3380. Personal exploration into the expansive world of printmaking. Stress is placed on personal growth and development both on the conceptual and technical level. The course will consist of individual and group projects in a class setting.
Prof. Crosson. Prerequisites: ARST 3490 and 3500. Individual exploration within a cooperative format. Attention given to the development of personal style with seminars supplementing studio research.
Staff. Open to especially qualified juniors and seniors with approval of instructor and chair of department.
Prof. Richens. This course constitutes a capstone experience for senior B.A. students in Studio Art. The course will culminate in an exhibition of the students’ work in the B.A. Exhibition in the Carroll Gallery (which the students will design, install, promote, and document). The course will also cover contemporary art criticism, assisting students in understanding their work in the broader context of contemporary art. Students will visit and critique professional exhibitions, develop the ability to present their own work in a slide presentation and a digital portfolio, and study other professional art practices, resources, and opportunities.
Staff. Students propose studio thesis projects at the end of their junior year. Projects are reviewed by an honors committee at the end of the fall semester of the senior year and a recommendation is made on whether to continue. Finished thesis projects are evaluated by the honors committee on a pass or fail basis.
Staff. Required of each candidate for the B.F.A. major.
Staff. Prerequisite: approval of instructor.