40 courses with the subject PAD, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
PAD 1000Painting I3
In this introduction to oil painting, students are presented with a variety of attitudes toward making paintings, with emphasis on composition and color. Some assignments involve painting from direct observation while others involve transforming and abstracting from a given motif. Students develop color equivalents for observed relationships by translating their experience into color choices of hue, value, intensity, and temperature.
A basic introduction to drawing for students from other disciplines. Focus is placed on becoming familiar with the elements of 2-D design and on strengthening observational skills. A variety of drawing techniques and materials are used to explore both representational and nonrepresentational image making.
A basic introduction to painting for students from other disciplines. Focus is placed on becoming familiar with the materials and methods of painting. A variety of techniques and materials are used to explore both representational and nonrepresentational image making.
A continuation of PAD 1000. Emphasis is on the role of technique, style, color, and composition in painting. Students’ work is based on art historical models, concepts, and direct observation. Students develop a range of skills, including alla prima, underpainting, transparency, divided color, and various approaches to color mixing. PREREQ: PAD1000
A continuation of PAD 2000, with emphasis on choices of color, scale, size, composition, and subject. Projects may include interiors and figures in the environment, as well as narrative, conceptual, and thematic approaches. PREREQ: PAD2000
Observational drawing of the figure is a vehicle to comprehend drawing as visual language. Drawing fundamentals are employed as tools in intense observation of the human form. Such elements as gesture, contour, line, mass, and movement are introduced in critiques and slide presentations. Materials include pencil, charcoal, wash, and various wet and dry media. PREREQ: VIS1060
Students paint the human form from direct observation while examining conceptual frameworks surrounding the genre. Key topics are anatomy, process, palette, craft, observation and scale. As students build these foundational skills they also discover their own relationship to depicting the body. Exposure to relevant artistic influences will occur through presentations, readings, in person viewing, and independent research. PREREQ: PAD1000
Students work outside the studio from direct observation and experience. Invention and unique responses are encouraged. Sites have included the Museum of the City of New York, Flushing Meadows-Corona Park, the Metropolitan Museum of Art, the World Trade Center, the Museum of Natural History, and various locations on campus.
How do people recount events in the silent and still realm of visual art, specifically the painted image? Students explore issues of conception, construction, and reception of narrative, and formal strategies for its visual conveyance. The primary media are watercolor and acrylic, and final projects may range from paintings to books and beyond. PREREQ: VIS1060
Focuses on the synthesis of observational skills, a visual vocabulary, and individual vision. Students identify their sensibilities and interests through increasingly self-directed assignments and further their visual, technical, conceptual, and verbal abilities. COREQ: PAD3010 PREREQ: PAD2000 And PAD2050
Students explore two-dimensional, handmade processes in order to make digital animations. Stop-motion methods are covered with a focus on using analog means to create four-dimensional effects. Through screenings, lectures, and independent research, students become familiar with the history of hand processes in animation. They also learn many methods, including narrative sequencing, still photography, and digital editing, used in transforming handmade work into digital animations. PREREQ: VIS1060
Helps expand students’ knowledge of art and theory. Students learn new ideas and perspectives through research, presentations, and discussion of modernist and contemporary art. They also research artists and identify their individual affinities with contemporary and modernist traditions. This seminar is tailored to junior-level painting/drawing majors who are beginning a self-motivated course of study. COREQ: PAD3000 PREREQ: PAD2050
Students work independently, choosing their subjects and approach to painting under the guidance of a faculty member. Critical thinking is promoted in critiques and discussion of readings. Students’ work is considered in the context of contemporary painting as they attempt to define their individual sensibility and concerns in preparation for (or in complement to) the senior project. PREREQ: PAD2050
This course encourages nontraditional approaches to drawing. Students explore a more innovative and interpretive response to their visual and intellectual experiences, both through a wide- ranging use of tools and materials and through complex and unconventional concepts, ideas, and subject matter. Assumptions about technique, subject, author, environment, audience, and historical classifications are interrogated. PREREQ: VIS1060
This course involves drawing the figure on a large scale from direct observation of the model and various sculptural, two-dimensional, or digitally based sources. Form, gesture, and composition are stressed in large-scale, fast-to-slow drawing. Assignments in anatomy, photography, narrative, memory, and art history are used to develop concepts for representation of the figure. Analysis, critique, and experimentation are components of the course. PREREQ: VIS1060
Students experiment with ideas for making a series of work that is extreme in content, scale, color, and visual impact, and may choose to work independently or collaboratively. PREREQ: VIS1060
Students work outside the studio from direct observation. Invention and unique responses are encouraged. Sites have included Rye Beach, The Hudson River, Kensico Dam, Grand Central Station, the Rockefeller Estate, and various locations on campus. PREREQ: PAD1000
By treating the sketchbook as a portable studio, students will develop an understanding of first-hand research, sequence, and methods for translating experiences into narrative artworks. Students will work in a variety of media from drawing, water-based painting, and basic digital processes, to experimental book forms. PREREQ: VIS1060
Students make paintings and drawings based on generated images. Various strategies, including appropriating imagery from cultural media (print, photography, the Web) and manipulating imagery through mechanical and electronic processes (photocopy, Photoshop), are explored. Other approaches (e.g., layering, de/constructing, morphing) may also be used to generate imagery for narrative, ironic, or abstract works. PREREQ: VIS1060
Contemporary and more traditional approaches to painting materials and techniques are examined. Topics include pigments, solvents, supports, media, and their technical applications. PREREQ: VIS1060
Students explore the impact and legacy of queer theory, artistic practice, and artists throughout time. This course examines how queer aesthetics resist normalization, foster collectivity, and inspire imaginative futures. Through visual, literary, performative, and philosophical lenses, we will engage with the generative power of queer contributions to artistic discourse and cultural production, embracing a spirit of constant transformation. PREREQ: VIS1060
Students gain technical professional experience by helping provide a safe and well-functioning studio environment for their fellow students. Studio assistants are expected to have advanced standing in their media area and a thorough understanding of current professional practices. Duties include basic maintenance and demonstrations of equipment, independent or group tutorials and workshops, weekly meetings, and other responsibilities assigned by the sponsoring instructional technician. A max
Commitment and professional practice are the focus of this seminar. Students are encouraged to articulate and clarify the intentions of their work through lectures, critiques, discussions, and readings. Required for all painting/drawing majors who are undertaking a senior project. PREREQ: PAD3000 Or PAD3001
This course encourages nontraditional approaches to drawing. Students explore a more innovative and interpretive response to their visual and intellectual experiences, both through a wide- ranging use of tools and materials and through complex and unconventional concepts, ideas, and subject matter. Assumptions about technique, subject, author, environment, audience, and historical classifications are interrogated.
Observational drawing of the figure is a vehicle to comprehend drawing as visual language. Drawing fundamentals are employed as tools in intense observation of the human form. Such elements as gesture, contour, line, mass, and movement are introduced in critiques and slide presentations. Materials include pencil, charcoal, wash, and various wet and dry media.
This course involves drawing the figure on a large scale from direct observation of the model and various sculptural, two-dimensional, or digitally based sources. Form, gesture, and composition are stressed in large-scale, fast-to-slow drawing. Assignments in anatomy, photography, narrative, memory, and art history are used to develop concepts for representation of the figure. Analysis, critique, and experimentation are components of the course.
Students work independently, choosing their subjects and approach to painting under the guidance of a faculty member. Critical thinking is promoted in critiques and discussion of readings. Students’ work is considered in the context of contemporary painting as they attempt to define their individual sensibility and concerns in preparation for (or in complement to) the MFA graduate project.
Students paint the human form from direct observation while examining conceptual frameworks surrounding the genre. Key topics are anatomy, process, palette, craft, observation and scale. As students build these foundational skills they also discover their own relationship to depicting the body. Exposure to relevant artistic influences will occur through presentations, readings, in person viewing, and independent research.
Students work outside the studio from direct observation. Invention and unique responses are encouraged. Sites have included Grand Central Station, the Rockefeller Estate, the Westchester County Airport, and various locations on campus.
By treating the sketchbook as a portable studio, students will develop an understanding of first-hand research, sequence, and methods for translating experiences into narrative artworks. Students will work in a variety of media from drawing, water-based painting, and basic digital processes, to experimental book forms.
Students work outside the studio from direct observation and experience. Invention and unique responses are encouraged. Sites have included the Museum of the City of New York, Flushing Meadows–Corona Park, the Metropolitan Museum of Art, the World Trade Center, the Museum of Natural History, and various locations on campus.
Contemporary and more traditional approaches to painting materials and techniques are examined. Topics include pigments, solvents, supports, media, and their technical applications.
Students explore the impact and legacy of queer theory, artistic practice, and artists throughout time. This course examines how queer aesthetics resist normalization, foster collectivity, and inspire imaginative futures. Through visual, literary, performative, and philosophical lenses, we will engage with the generative power of queer contributions to artistic discourse and cultural production, embracing a spirit of constant transformation.
