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The
educators and practicing artists of the OWU faculty
create an environment that supports the development
of a strong foundation in the liberal arts. Our
department thrives in a university where diversity
is encouraged. Students participate in programs and
activities ranging from performing arts, to
community service, to athletics. The pairing of the
focused arts education with the liberal arts offers
all our students a unique type of intellectual and
cultural stimulation. We believe that this is a
special asset for student artists which helps to
encourage a more confident and personal artistic
vision.
At
Ohio Wesleyan we have created an atmosphere in which
learning and creativity work together. We have
designed a rich and balanced program that provides
the necessary structure as well as the freedom to
grow and explore. The art curriculum provides
students with opportunities for a highly
concentrated education in studio art and art
history. Students can elect to combine various media
concentrations when creating their desired programs.
We also offer an art education program with
certification in grades K-12 for BFA candidates. |
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We offer both the Bachelor of Arts
(BA) and the Bachelor of Fine Arts (BFA)
as well as a combined -- BA and BFA
-- degree. BFA students are those
who are planning to be professional
artists, art teaches, or graphic
designers. They focus on studio art
(ceramics, computer imaging,
drawing, graphic design, metals,
painting, photography, printmaking,
sculpture), or art education with
teaching certification. BA students
take a lower concentration of
courses in the arts and often
combine their art studies with a
second major. They choose from among
the same curricular concentrations
and meet the same standards of
artistic and academic excellence as
those who select the BFA route. All
students at OWU can minor in studio
art or art history.
All fine arts students are required
to take a foundation core of courses
consisting of 2-D design, 3-D
design, drawing, and survey of Art
History I and II. This series of
courses provides the foundation for
all studio art, art history and art
education majors. For each
specialization there is a specific
set of upper level requirements.
Most of our students combine
different studio specializations
(concentrations) to reflect their
own interests. Typically at the
advanced levels students are working
on their own independent projects.
Students have access to our studios
24 hours a day, seven days a week.
This free access to studio
facilities is crucial in helping the
students to meet the high
expectations of each course and to
rise to high levels of achievement.
Due to the quality of teaching and
the access to excellent facilities,
our studio majors do very will with
entry into MFA graduate programs as
well as entry into professional art
and design jobs. Furthermore, we
have an excellent record in placing
our art education students in
teaching positions. |
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At Ohio Wesleyan we offer the
B.A. Degree in Fine Arts with a
concentration in art history. We
study the art of the past in the
contect of its historical and
cultural setting. If you study
art history at Ohio Wesleyan,
you will have the opportunity to
study the art of many different
periods and cultures: courses
include Classical Art, Medieval
Art, Italian Renaissance Art,
Baroque Art, American Art,
Modern Art, Contemporary Art,
Islamic Art, and Asian Art.
Courses often involve field
trips to the Columbus Art
Museum, the Cleveland Museum of
Art, the Toledo Museum, the
Cincinnati Museum of Art, the
Chicago Art Institute, the
Wexner Center in Columbus, and
other regional galleries and
exhibits.
Most art history students work
one-on-one with faculty on
independent study projects on
subjects of their own choosing.
Some recent projects include:
"The Great Lady: A Cultural and
Iconographic Examination of the
Image of Isis in the High Roman
Empire" (Amanda Flaata),
"Courtly Love Motifs in
Misericords and Secular Ivories"
(Theresa George), and "The Role
of Crusader Castles in the
Development of Western
Fortifications" (Matt Zielenski).
Our Graduates in art History
have gone on to jobs and
graduate work in their chosen
field. Some employers of recent
graduates include: The National
Museum of Women in the Arts
(Washington, DC), the Guggenheim
Museum (New York), and the
Butler Institute of American Art
(Youngstown, OH). Other recent
graduates have gone on to
graduate study at Rutgers
University, Florida State
University, the State University
of New York at Stony Brook, and
the University of Wisconsin.
ART HISTORY COURSES
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The Art Education program is
designed for students pursuing
K-12 certification. This program
prepares students for primary
and secondary art as well as art
supervisory position. Students
enroll as BFA majors with
additional course work in the
Education Department and
supervision for student teaching
coordinated with both art and
education professors. The
combination of the BFA’s
extensive and thorough grounding
in studio art and art history
mixed with the excellent
curriculum and supervision in
the Education Department makes
our graduates unusually
qualified and very competitive
for teaching positions. |
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Ceramics is taught with two
specific beginning approaches in
alternating semesters. Beginning
students either start with
throwing or handbuilding
techniques. Students are
introduced to design,
construction, glazing and firing
of ceramics; the chemistry of
glazes and simple geology of
clay are taught every semester.
More advanced students define
and carry out their own
individual exploration in a
particular direction.
The ceramics facilities are
primarily made up of a large
central classroom with various
satellite support spaces around
it. All of the clay used in the
studio is made in our clay
mixing room. We have a separate
glazing room and glaze chemistry
and storage room, a damp room
and two indoor kiln rooms. These
kiln rooms house a small Bailey
gas fired reduction kiln, and
three electric kilns. Outside of
the Ceramics studio we are
building a large gas car kiln, a
wood kiln, a soda kiln, and a
Raku kiln. |
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Emphasis is on creating
color images for output on
color ink jet printers and
photo mechanical processes.
Specific focus is made on
hand crafted works using
pressure sensitive tablets.
Alternative input devices
include transparency and
reflective scanners and
digital cameras. Advanced
students are directed to
find a personal statement
based on formal and
technical exploration on
content of their choice.
Advanced students also can
do directed studies in
digital photography and
animation. They must acquire
a thorough understanding of
computer software and
hardware prior to arranging
a directed course.
The computer imaging
facility is exclusively
outfitted with Apple
Macintosh G4 and G3
workstations with either 21"
or 19" monitors. Most of the
G4 workstations utilize dual
processors with well over a
gigabyte of RAM in each. All
of our workstations are
equipped with 12" Wacom
tablets, Zip drives, CD-RW
drives and are connected to
our 160GB RAID data server
via a 100Mbps Ethernet
network. All software is
native on each workstation
so that the performance of
each computer is not
compromised by a
server-based software
system. Beyond the Wacom
tablets, other input
possibilities include a
Nikon Coolscan transparency
scanner, an Epson 1600
transparency and flatbed
scanner, an Epson 1200
flatbed scanner, and a Sony
Cybershot DSC-S70 3.3
megapixel digital camera.
Output devices include an
Epson 7500 archival printer,
several Epson Stylus 3000
printers, an Epson Stylus
900 printer, an Epson Stylus
Pro XL printer as well as an
HP LaserJet printer. For
software we use Photoshop,
Painter, Bryce 3D,
QuarkXPress, PageMaker and
Graphic Converter. |
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We offer four levels of drawing
and four separate levels of
figure drawing. We teach drawing
as a means of developing visual
perception. In beginning
drawing, basic skills are
acquired for depicting
representational and
nonrepresentational elements. In
upper level courses students are
introduced to more advanced
approaches in the selection and
use of materials and subject
matter. Here the development of
a personal aesthetic is
emphasized.
Figure drawing is done from a
live model. As work and course
levels increase, more advanced
study of the structure, anatomy
and expressive potential of the
human form are pursued. |
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Students are introduced to
graphic design utilizing Quark
Express with the emphasis on
typography and layout and the
development of skills in the
handling of formal design
principles. After taking a
Computer Imaging course,
intermediate and advanced
students are introduced to more
complex issues of combining text
and images in computer enhanced
design and web design utilizing
software such as Photoshop,
Illustrator, Quark Express,
Flash, Fireworks, Dreamweaver
and Go Live. Most of the studio
work in the advanced design
courses is in more traditional
graphic design methods. However,
each semester, web design
professionals are invited to
campus to offer web design
seminars for students who want
to specialize in web page
design. |
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Beginning students are
introduced to design and
fabrication of metals and
non-conventional materials into
body adornment, hollowware
and/or small sculpture. The next
level involves further
exploration of forming
techniques, surface
embellishment and fabrication
methods. Casting processes are
taught at the advanced levels.
Advanced students are encouraged
to develop a personal style
while creating a body of work.
This is a fully equipped
facility for hand fabricating
and mechanical processes
involved in jewelry making,
aluminum anodizing, hydraulic
die forming, lost-wax casting,
rubber mold making, stonesetting,
patination coloring of
refractory metals, Japanese and
Korean surface treatments and
laminations. The primary
classroom has work stations for
eighteen students and all
appropriate areas and equipment
to support basic production work
and brazing techniques. A
separate fabrication, casting
shop and etching/finishing
facility is located adjacent to
the main classroom. |
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In beginning painting, students
are introduced to basic concepts
of color mixing, paint
application, composition and the
selection of subject matter.
Various media are employed;
primarily oil and acrylic, but
may include watercolor, collage
and mixed media. Students in the
intermediate and advanced levels
may explore both traditional and
contemporary painting issues
with an increasing emphasis on
personal expressive content and
stylistic cohesiveness.
The studio is set up with north
facing skylights and is amply
equipped for most painting
techniques including a series of
semiprivate advanced student
alcoves, 25 easels with palette
tables, power tools, hand tools,
spray painting room, lockers,
and storage facilities. |
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For beginners, emphasis is on developing a thorough understanding of the 35 mm camera, its operations, and its application as a tool for self-expression. The basics of lighting, exposure, film processing, contact and projection printing, and image presentation are covered. Study on the intermediate and advanced levels is designed to further the student's understanding of the theory and practice of photography as a fine art. Each student is encouraged to work with medium and large format cameras and experiment with a variety of hand-manipulated and non-silver print processes. Creative projects are designed and completed by each student with an emphasis on the development of an individual portfolio of personal statements.
Photography facilities include a light studio, a lecture and critique classroom, a beginning level "gang" darkroom which houses 12 enlarger stations, four advanced level semiprivate darkrooms, several development and film loading rooms, and a print mounting and matting room. All of the darkrooms are equipped with Hiretech custom gel coat sinks and case work and Saunders enlargers.
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Students are introduced to printmaking through the study of intaglio, lithography. relief and monoprinting techniques. Emphasis is on developing a basic understanding of the materials and techniques employed and to create personal statements. At the more advanced stages students work in photomechanical processes. Advanced students are encouraged to take on more ambitious projects utilizing multiple printmaking techniques and to create a body of work with emphasis on development of a personal statement through form and process.
The print shop is set up to support large scale and complex projects with an ample area for personal work on wood, copper, zinc, aluminum and mono plexiglas plates and lithographic stones. There are separate rooms for doing photomechanical processes, applying grounds, aquatinting plates, etching plates, processing plates, washing out silkscreens, and graining lithographic stones. Printing equipment includes a 40" x 72" Takach combination etching and lithography press, a 34" x 60" Takach etching press, a 34" x 60" Takach lithography press with an aluminum sub bed and finally a Sturges 28"x 48" press for relief printmaking and various transfer methods; copper and zinc etching facilities for up to 24" x 36" plates; and a modest collection of lithographic stones. The print shop also houses a large area for students to work on ambitious projects, a small computer imaging lab, a plate and paper storage room, pexto plate sheer, print drying racks, matting equipment and an ink mulling machine for making custom inks on site.
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Beginning sculpture students are introduced to various materials and techniques. Options include forming, modeling, molding, casting, carving and building; clay, plaster, wood, plastics, welded metal, fiberglass/resin, lost wax bronze casting and mixed media. Intermediate and advanced students work with ARC and TIG welding techniques and iron casting as well as further study of various sculpture media At the advanced level there is an increasing emphasis on personal expressive content and stylistic cohesiveness.
Highlights of these facilities include an indoor foundry for bronze and a fenced exterior courtyard for iron casting. There are specialized areas for wax and plaster work and a full compliment of power and non power hand tools for fabrication and finishing work, gas brazing, tig welding, plasma cutting, and arc welding.
We have a separate wood sculpture facility. This facility houses various heavy pieces of Delta and Rockwell equipment: a 24" thickness planer, a table saw, 2 radial arm saws, (one set up with dado blades,) a large band saw, scroll saw, plywood panel saw, 6" jointer, and a drill press. There is also a large variety of electrical hand tools such as a circular saw, several routers, hand drills, sanders as well as non power hand tools and clamps. Work is done on four large custom made woodworking benches and a glue up table.
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This course covers architecture, painting, sculpture and other art forms of the United States with an emphasis on the period from 1776 to 1913. The course begins with the introduction of Thomas Jefferson as a "gentleman architect" and ends with the examination of the unprecedented manipulation of space and materials in the buildings designed by Frank Loyd Wright. In between those extremes, the neo-classical sculpture of Hiram Powers is compared to the plaster parlor ornaments created by the skillful craftsman John Rogers. Other highlights include the landscape paintings of Thomas Cole, the work of abstract expressionist painter, Jackson Pollock and the pivotal influence of Alfred Stieglitz as both a photographic artist and as a champion of European Modernism.
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A survey of the art of India, China and Japan, with emphasis on major traditions and their religious and philosophical context. The course covers such exciting sites as the early Buddhist cave paintings at Ajanta, examines the development of Chinese scrowl paintings, the impact of Zen and the "Way of Tea" on Japanese architectural and artistic aesthetics and the art of the multiple cultures of South Asia.
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Art of the Baroque and Rococo movements (17th to early 18th century) in Italy, Spain, Flanders, Holland, France and England. The course considers the impact of the Reformation and Counter Reformation and the role of patronage on the development of art and architecture; from the grandeur of Baroque churches in papal Rome to the raucous or tranquil scenes of daily life and symbol-rich still lives of prosperous Calvinist Holland and the playful and sexually charged art of the Rococo salons of Paris.
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Art of the Aegean, Greece, Etruria and Rome from the Neolithic to late antiquity (2500 BCE to 330 CE). This course explores the art of the ancient Mediterranean world: architecture, sculpture, mural painting, ceramics, metalwork; in its cultural and social contexts. Examples include works such as the Minoan Bronze Age complex at Knossos, the construction and sculpture of the Parthenon in classical Athens, the dancers and feasters on the walls of Etruscan tombs, and the transformations of Roman art from the Republic through to the late Empire.
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This course covers significant developments in the visual arts from 1945 to the present. The course begins with the abstract expressionism of the late 40s then considers the contentious critical analysis of Greenberg and Rosenberg. Michael Fried's tirade expresses the challenging and pivotal importance of minimalism. Next we look at Raushenberg, Johns and Cage who appropriate images from the every day world and restate the issues of semiotics and meaning in art. The investigation of artists in the 70s, 80s, and 90s such as Warhol, Hesse, Serra, Lin, Beuys, Acconci, Schneeman, Sherman, Kruger, Ukeles, Kelly, Jimenez, Durham and Hammonds reveal the complexity and diversity of trends in the late 20th Century.
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An exploration of the development of early Islamic art and architecture in light of the aesthetics and functional needs of Islam as faith and cultural empire. The impact of Islam as a unifying force will be contrasted with the artistic regionalism of cultures wholy or partially subsumed within Islam; Arabic, Persian, Anatolian, Mughal Indian, medieval Spanish and subSaharan Africa.
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Art of the medieval world from the conversion of the Roman emperor Constantine in 312 CE to the Late Gothic era (14th- 15th centuries).This course explores the development of a new Christian language of visual forms, the continuities and transformations of the artistic traditions of classical antiquity in the art of the Middle Ages, the interaction of these traditions with the artistic practices of nonclassical cultures of northern Europe, and the emergence of new architectural and artistic forms including the illuminated manuscript, the Norman castle, and the Gothic cathedral.
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This course covers art and architecture from impressionism to the present, with an emphasis on major developments in 20th Century painting and sculpture. It is a course that presents and explains the reasons for the revolutionary changes that shaped the way we see and understand the art of our time. We examine why and how artists looked beyond the realistic appearence of the world around them and instead sought to understand and present what they felt was an even more realistic abstract, expressive reality.
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Art of Renaissance Italy from the ProtoRenaissance to Mannerism (14th to the 6th century). This course starts with 14th-century transformations of late medieval art. Then it follows 15th-century developments in such urban centers as Florence, Mantua, Urbino, and Rome. Finally it explores the High Renaissance art of Leonardo da Vinci, Michelangelo, Raphael, and Titian, and considers the emergence of the new creative energies of Mannerism.
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