Kathryn Shields, Associate Professor, Co-Chair
Antoine Williams, Assistant Professor, Co-Chair
Mark Dixon, Associate Professor
Charles Tefft, Half-time Instructor
Terry Hammond, Adjunct Instructor and Director of the Guilford College Art Gallery
Katy Collier, Visiting Assistant Professor
The Department of Art offers a studio program of high quality for its majors and seeks to develop an awareness and appreciation of art in all students. The art major involves students in the visual arts, both as creative artists and as active learners of multiple philosophical and art historical perspectives. It provides an in-depth experience in making images and formulating and crafting ideas through a variety of means. The program places emphasis on training in observation, technical application of skills demanded of each medium, and the resolution of imagery for presentation to an audience.
Art Majors choose a concentration in: Painting, Drawing, Sculpture, Printmaking, Ceramics or Photography.
The Bachelor of Arts is best for students who prefer a major in art with space for a minor, second major and/or deep commitment to a broad liberal arts grounding.
Bachelor of Fine Arts is recommended for students primarily interested in becoming professional artists and/or entering graduate school in studio art. The demands of a BFA in a liberal arts context are substantial and may require additional semesters and/or transfer classes to complete.
Overview of the principal visual arts, including their aesthetic qualities, structural forms and historical roles. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
This course is an introduction to the building blocks of image making and how to effectively communicate ideas, through a variety of digital and traditional media. Fulfills arts requirement (1998). Arts/humanities requirement (2019)
Basic principles of drawing in various media stressing the relationship of observation, materials and methods to form. Fulfills arts requirement (1998). Arts/humanities requirement (2019)
Introduction to fundamentals of object design: observation, iterative process, creative ideation, structure and materials. Fulfills arts requirement (1998). Arts/humanities and embodied and creative engagement requirements (2019).
May also be offered at 250, 350 and 450 levels.
May also be offered at 260, 360 and 460 levels.
This course introduces the artistic traditions of Africa, the Pacific Islands, India, China, Japan and the ancient Americas. The readings, lectures and class discussions focus on art as a reflection and extension of values as seen in the philosophy, religion and social customs of the cultures considered. No Prerequisite. Fulfills arts and intercultural requirements (1998). Arts/humanities and sociocultural engagement requirements (2019).
Figure drawing: stress on integration of formal, expressive and structural aspects of anatomy.
Team-taught course between Art and Geology. Focus on harvesting, processing, testing, and using local and regional clays to make art. Students learn scientific knowledge and processes and apply these to the form, function and aesthetics of art objects. Fulfills arts requirement (1998). Arts/humanities requirement (2019). (NOTE: may be taken to fulfill natural science and mathematics (1998 & 2019) requirement using GEOL course number).
This team taught course draws on art techniques and art historical practice for collaborative research, writing, and creative projects. No Prerequisite. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
Introduction to the fundamentals of observational painting. Students will explore technique, form, and color theory through the medium of oil paint. This class will introduce various painting genres; still life, portrait, and landscape. No prerequisite.
Exploration of abstract painting. Oil, acrylic, and other material explored as painting medium. Experimentation with technique, color theory, and process. Coursework will examine the history of abstraction and current ideals in contemporary painting. No prerequisite.
Relief printmaking processes, including linocut, woodblock, and monotype. Exploration of the techniques, processes, and formal ideas unique to printmaking media. No prerequisite.
Introduction to materials, equipment and techniques in black and white photography, the darkroom, and digital imaging. Image content and composition is stressed as well as mastering the craft of creating photographic images and their presentation. No prerequisite. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
Introduction to tools and techniques for welding, bending, cutting and finishing steel. Study of relevant precedents in sculpture. No prerequisite. Fulfills embodied and creative engagement requirement (2019).
Introduction to tools and techniques for cutting, shaping and joining wood. Study of relevant precedents in sculpture. No prerequisite. Fulfills embodied and creative engagement requirement (2019).
The course discusses the history of Renaissance Florence, its economy, society, politics and culture, in relation to the other major Italian city-states. A main theme of the course is how politics and religion combine during this time and find their expression in art and culture. No Prerequisite. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
Screenprinting processes, including paper, fabric, repeat pattern, multi-layer, and monoprint. Focus on process and the intersection of printmaking, repeatable media, formal considerations, and craft. No prerequisite. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
History and tactics of agitprop and political printmaking through making. Linocut, woodcut, monotype, and screenprinting are covered. Emphasis on historical study, conceptual concerns, and student-designed projects. No prerequisite. Drawing Foundations, or Visual Communication recommended. Combined with 343. Fulfills arts and diversity in the U.S. requirement (1998). Arts/humanities and sociocultural engagement requirement (2019).
Introductory class working with Adobe Photoshop and Illustrator to manipulate and create images. Design principles emphasized. Can be repeated for credit at the 300- or 400-level. No prerequisite. Fulfills arts requirement (1998). Arts/humanities (2019).
May also be offered at 350 and 450 levels.
Introduction to ceramic processes: throwing, sculptural forms, glazing and firing. No prerequisite. Fulfills arts requirement (1998). Arts/humanities and embodied and creative engagement requirements (2019).
Introduction to ceramic processes: hand-building, sculptural forms, glazing and firing. No prerequisite. Fulfills arts requirement (1998). Arts/humanities and embodied and creative engagement requirements (2019).
May also be offered at 360 and 460 levels.
Developing a photographic series in the fine arts or documentary tradition. Presentation and exhibition skills along with non-silver processes: toning, hand coloring and digital imaging. No prerequisite. Fulfills social justice/environmental responsibility requirement (1998). Evaluating systems and environments requirement (2019).
This course examines styles, themes, concepts, and methodologies in the history of art from around the world in all time periods. No Prerequisite.
Comprehensive introduction to the theory, history, materials and practice of color photography. Includes brief introductions to color negative film and digital capture as well as new and traditional choices for producing finished color prints. Not a darkroom course. No prerequisite. Fulfills arts requirement (1998). Arts/humanities requirement (2019)..
Major artists and art movements from late 19th to mid-20th century. No Prerequisite. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
Majors may petition the department to receive academic credit for internship experiences. Advisor conferences, mid-semester progress reviews and final art staff conferences are required. May also be offered at the 390 level.
This art history course explores art based on the experience of groups whose work existed outside the mainstream of art production prior to the 20th century, primarily African Americans and women, as makers of art and as subjects in art. It considers art made with intentional expressions of identity that embraces and celebrates individuality and cultural history through both personal and collective narratives.
Exploration of the history and context of major artists and art movements from 1945 to the present.
This course emphasizes familiarity with photographic technology, recognition of major photographic works, attribution to the photographer who made them, and comprehending relationships with the relevant social and historical context. These elements will be considered individually and together as appropriate in order to better understand the developments in the history of photography from 1839 to the present.
Continuation of Life Drawing, emphasizing composition and expression.
Strategies and problem solving when working with clay at a larger scale. Students will design and create large scale ceramic work on and off the wheel.
This course focuses thematically on the genres of portraiture and self-portraiture in the history of art. It explores portraiture and self-portraiture by considering related theories and the work of individual artists. How is a photographic portrait different from a painted portrait? What aspects of identity can be communicated in portraits and/or self-portraits? These issues will be among those addressed as we examine artists’ intentions, their relationships to their subjects, and the resulting expression, in addition to the viewer’s response.
Self-determined study of expressive printing in digital and darkroom techniques Students will produce one or two cohesive sets of images and locate their work in the current cultural context.
Exploration of the interaction of color as it relates to the process, material, and methods of art making. Emphasis on concepts and creative methods unique to mixed media art. ). No Prerequisite. Fulfills diversity in the U.S. requirement (1998). Sociocultural engagement requirement (2019). (NOTE: ART 309 replaces ART 250 Mixed Media, which was approved for diversity in the U.S.; this course will count for this requirement or for sociocultural engagement).
Further exploration of drawing form, concepts, and methods.
Explore painting as a vehicle for narrative storytelling.
Monotype printmaking processes, including watercolor, relief, viscosity, screenprinting, collagraph, and embossing. Exploration of processes, color theory, and pressure as a way to approach abstraction and representation. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
Intaglio printmaking processes, including hard and soft ground etching, aquatint, monoprint, and drypoint. Exploration of drawing with a focus on the chemical processes of etching. Will examine the historical relationships between drawing, printmaking, and other repeatable media. No prerequisite. Fulfills arts requirement (1998). Arts/ humanities requirement (2019).
Advanced painting. Guided exploration in painting concept and technique in relationship to personal direction.Requirement: (2) 200 level courses and any 300 level course in focus. (Cross-list with any painting course)
Material exploration of concepts in motion, periodicity, sound, emptiness, performance and interaction. Emphasis on place and practice development.
Exploration of sculptural possibilities of clay using a variety of techniques including: slip casting, pres molding, modeling and slab building. There are also opportunities for collaborative work and multimedia approaches. Study of relevant precedents and contemporary practice in ceramic sculpture. This team-taught course draws on the experience of faculty in Ceramics and Sculpture. Fulfills arts requirement (1998). Embodied and creative engagement requirement (2019).
History and tactics of agitprop and political printmaking through making. Linocut, woodcut, monotype, and screenprinting are covered. Emphasis on historical study, conceptual concerns, and student-designed projects.
Guided exploration through the techniques, processes, and characteristicsunique to printed images. Emphasis on developing form and content through repetition, layering, and editioning.
This class will explore the rich color and range of textures created by altering kiln atmospheres, firing schedules and clay bodies. There will be freedom to explore individual clay forms, construction methods and recipes. Students will actively participate in firing the two wood kilns, gaining a working knowledge of the firing process of pottery.
Advanced ceramic techniques: throwing on the wheel, glaze preparation and formulation, kiln operation for dinner sets and serving pieces.
Material investigation and experimentation with focus on systematic and process-oriented approaches. Emphasis on place and practice development.
Sculpture with an emphasis on human relationships with the other-than-human world. Cross-disciplinary collaboration. Readings on Ecological Art.
Exploration of sculptural possibilities of clay using a variety of techniques including: slip casting, pres molding, modeling and slab building. There are also opportunities for collaborative work and multimedia approaches. Study of relevant precedents and contemporary practice in ceramic sculpture. This team-taught course draws on the experience of faculty in Ceramics and Sculpture. Combined with ART 336.
Advanced study in drawing through guided personal exploration. Emphasis on personal exploration of conceptual and formal elements within drawing. Develop a studio practice through studio writing and generative methods.
Advanced painting. Guided exploration in painting concept and technique in relationship to personal direction.Requirement: both 200 level courses and any 300 level course in focus. (Cross-list with any painting course).
Independent study and guided exploration of advanced printmaking projects, concepts, and techniques.
Advanced Ceramics Projects is a class where students will be given the freedom to investigate personal ideas and concepts through individual projects. Each assignment should explore new and different approaches to decoration, manipulation, addition and subtraction, presentation, and containment. Students will work in small groups and with the instructor to push through personal clay issues. All work will be produced using basic ceramic tools and machinery, as well as creative thought and energy.
Four to five day seminar on the visual arts, stressing dialogue with artists in New York City studios, museums and galleries. Course planned to acquaint students with the making and promotion of the visual arts. CR/NC.
This 3-week, team taught course allows students to install their Senior Thesis Exhibition and complete planning and execution of the exhibition opening; documentation of the exhibition; and further sharing the results of their research in preparation for post-graduation professional opportunities.
In this capstone course students pursue creative inquiry in a chosen subject and/or process. Projects may be individual or collaborative. Course culminates in an exhibit and/or public presentation. For students pursuing Senior Thesis in Art, this course serves as the first half of year-long Thesis Project. Required for B.F.A. candidates.
Students on the thesis track continue their ART 480 work to greater depth and resolution to create a concise body of work for public exhibition.
Available to students accepted to the Art Thesis program. This course replaces ART 481. Requires additional external committee member who, at a minimum, reviews the student’s work at midterm and end of the semester of the thesis exhibition.
Experience Design (XD)
Experience design (XD) combines knowledge and skills from many disciplines to craft products and services that fulfill user’s needs and designers. Students will learn fundamental design principles of products, services and experiences to evaluate existing user experiences. Creating user-centered design requires the application of design constraints, affordances, visibility and feedback to create effective product and interface designs. Furthermore, user experience integrates perspectives from product and interface design, usability research, interaction design and others. Fulfills arts requirement (1998). Arts/humanities requirement (2019).
Students in this course will apply and extend their XD knowledge through the development of practical projects. This course consists of discussion, presentations from external speakers, and student presentations. This course may be repeated twice for credit; however, students will be required to develop different projects for each enrollment. Prerequisites/Corequisites: XD 220 Experience Design.
The experience design (XD) lifecycle is a continuous process of inquiry, research, design and prototyping to create engaging experiences. In this course, students build upon user-centered design principles and delve deeper into specific issues relating to experience design, including user and usability research, interface design, and interaction design. Students will develop a design and prototype for a new or existing experience.
A combined on-the-job and academic experience arranged with an organization, business, individual, or campus office. Internships are supervised by a faculty member associated with the Experience Design program and can be coordinated through the Career Development Center. Recommended for juniors and seniors. May be repeated for credit. A total of 4-credits of Internship required.
The course requires students to synthesize their cumulative learning experiences in multiple disciplines and apply them in positions of major responsibility within the practical context of an internship or project designing and implementing a physical, digital and/or live experience. The work requires students to articulate a philosophy, assess the skills they bring to the work, set goals and objectives, maintain ongoing documentation of research and work before and during the internship/project, and assess their processes and accomplishments following completion.