Arts and Electives – Previous

Unique Courses Prior to 2021

• Advanced Photography

  In Advanced Photography students will develop a distinct body of portfolio quality work and investigate specific aesthetic, social, and historical concerns as they relate to their photographic practice. Students will participate in close readings of peer work, complete a single critical paper regarding an established photographer, and engage in open dialogues on assigned readings.

• Alla Prima Oil Painting

  This class will introduce students to small scale compositions (8” x 8”), thumbnail value studies, and beginning color theory. We will be working on canvases using walnut oil and Gamsol- instead of linseed oil and turpentine- so the paintings will have all the benefits of oil, without the nasty smells! We will learn to mix colors on a pallet in shades, tints and tones and in three values from light to medium and dark. The class will have weekly painting assignments based on still life arrangements chosen by each student for their own work. We will complete a small painting every week. The paintings will include monochrome, complementary color, and split complementary color compositions.

• Animation

  Animation is encountered by most in the western hemisphere from an early age and many never grow to understand the inherent challenges within. This course will help students explore animation in various forms and stages. Students will learn about these forms in concept and practice, beginning with archaic variations, such as phenakistoscopes and zoetropes, moving through a cut-out, cell, and computer animation.

• AV Storytelling

  This class will concentrate on the personal story. Students will contribute a series of audio and visual stories that they have created under the assignments of the class. In this they will concentrate heavily on narrative, voice acting soundscapes, and the art of Foley. Students should have a way to capture audio and video (a phone) and the ability to edit said formats, whether on their phones or another device. They will also participate in workshops and critiques.

• Beginning Photography

  Beginning Photography will allow students to explore the craft of digital camera work through the construction of composition. They will be expected to understand the basic functions of the camera and be able to apply them to their work. They should also be able to understand compositional elements so as to better think of the process involved in taking photographs. This course will require students to participate in group critiques using the acquired knowledge stated above.

• Black and White Photography

  Black and White Photography is a one-year course. However, the second semester is not mandatory to receive credit for the first semester. This class has two components: an introduction to the history of photography from the 1830s to present day, and the darkroom laboratory. We will demonstrate and study the photographic principle through the construction and use of a pinhole camera. We will learn how to develop film and paper in order to produce an exhibit at the end of the year. Students will learn how to read a photograph as an art medium. A series of critique sessions will prepare the students to conceive and edit a portfolio.

• College Portfolio

  It is necessary for students interested in applying to an art school to have a portfolio. Students in this class will prepare a physical portfolio with some 15-20 examples of their original artwork in a variety of medias (drawing, watercolor, oil painting, print) along with a few class exercises that show success and failure. For many students, they will also need to prepare a digital portfolio on Tumblr for time-based media (animation, film, puppetry) sculpture, exhibitions, installations and large-scale work. The class will focus on art school assignments such as still life painting and drawing, matting and presenting, and discussing the art school experience. The class will visit 1 or 2 colleges in the spring semester for a portfolio review.

• Creative Writing

  In this course students will explore the craft of writing, while experiencing the reciprocal relationships between writing, reading, publication and discourse. They will engage with a variety of literary forms, genres, and methodological approaches to develop their technical versatility and their understanding of the practice of writing on a fundamental level. Simultaneously, they will explore the social and ethical dimensions of literary practice. Students will be expected to write several hours’ worth of text per week, and to be reading at least one book of fiction, poetry, or other ‘non-factual’ text throughout the semester. They will be expected read each other’s work most weeks, and discuss it with sensitivity and detail. Other sessions will be devoted to in-class writing activities, writing games and experiments, and discussions on literary issues or technique, in which substantial participation is also expected. Following each assignment, they will collaborate to edit and produce a chapbook of their work for distribution within the school community, culminating in a perfect-bound anthology at the end of the year. During 2^nd Semester, regional and visiting writers will be invited to discuss their practice and participate in workshopping.

• Critiquing Cinema

  In this course, students will be expected to look at film critically while exploring the notion of genre, industry, and other contextualizing material. This should allow students to understand cinema more objectively and give them the basis to watch, research and discuss film academically.
  

• Curator Class 

  Curator class will immerse students in the pragmatic, aesthetic and social concerns of exhibiting and archiving plastic works. While learning how to appropriately handle, exhibit and store artwork, students will also be fully involved in Liminal Gallery’s functioning as a cultural space. Students can expect a small amount of reading, note taking and homework assignments, but primarily will be graded on their involvement in gallery processes and their role as social ambassadors for the work, the space, and the institution at large.

• Dance

  This class will focus on hip-hop dance and expressive movement set to the current moment. Each student will be charged with allowing their inner life to be made visible through movement and sound. Emphasis will be placed on each participants mind/body as well as flexibility, which will enable a greater understanding and appreciation for the physiology of a dance workout comprised of aerobics, muscle strengthening, and interval training. Students will be provided with beginner working knowledge of Hip Hop/contemporary dance. At the completion of this course, the student should be able to demonstrate basic skills of Hip Hop Dance and follow instructions given by instructor as skill sequences are developed.

• Drawing Large 

  A shift in scale can drastically change a student’s experience of the drawing process. Drawing at this scale becomes more about body movement than hand or arm control. In this course, students are introduced to the techniques of “scaling up” drawings essential for large-scale mural work. Students also learn to use materials suitable for drawing large scale works, such as graphite crayons, stick charcoal, powered graphite and chalk.

• Fiction Writing

  In this course students will explore the craft of writing fiction, while exploring the reciprocal relationships between writing, reading, publication and discourse. They will engage with a variety of literary forms, genres, and methodological approaches to develop their technical versatility and their understanding of the practice of writing on a fundamental level. Simultaneously, they will explore the social and ethical dimensions of literary practice. They will be expected to read each others’ work most weeks, and discuss it with sensitivity and detail. Other sessions will be devoted to in-class writing activities, writing games and experiments, and discussions on literary issues or technique, in which substantial participation is also expected.

• Film Genre

  The student will develop analytical skills as well as familiarity with the genre leading to a broader filmic knowledge. They will hone their notion of critique and use it to discuss, write and present on films. We will be examining documentaries. We will look at the history of documentaries as well as advances in filmmaking, how documentaries influence other genres, theory and the ethics of filmmaking.

• Film History: The American Studio System

  This semester in Film History, we will be focusing on how the U.S. film industry came to be and how it took a big hit in the sixties. Using Robert Sklar’s Movie-made America, the student will consider the power of the industry and how it has shaped certain films and in turn how technology and theory progressed the business of film. They will also examine the impact the industry had on the larger culture and how television began to erode this influence. In all, the student will walk away with the ebbs and flows of the business of cinema through the slight demise of Hollywood’s reign.

• Film History: Comedies

  This course will examine over 100 years of comedy in film. From the silent film era to the end of the twentieth century, the student will observe specific genre motifs, plot devices and other structural elements and consider the evolution of comedy in film. Students will learn to differentiate the specific genres within comedy and how to use that within their critique. They will also spend a good deal of time considering the roles of the comedic actor, director and producer and how that plays into a specific film’s understanding and effect on the genre.

• Film History: Crime

  Crime and criminals have been a part of cinema almost from the conception of the narrative film. In this course, we will look over the history of crime in film and explore various subgenres that have arisen over the years. Students will evaluate US crime films from 1906 through the end of the 20^th century. During this period they will merely scratch the surface of one of Hollywood’s favorite topics and understand that it is not simply an American vice. They will look at violence, seedy behavior, production codes, and audience reception of the films covered in this class.

• Film History: European Films of WWII 

  This semester in Film History, the students will examine the impact of war on film. The First World War devastated Europe’s studios; the Second would change Europe’s place in cinema for generations to come. Students will explore not only the devastation to the industry, but also how filmmakers changed course and gave new ways to make movies, utilizing their medium to both create and to offer critique.

• Film History: Sci-Fi Cinema

  In this course students will explore the science fiction film genre. Through close readings of films throughout the genre’s history, students will venture to the edges of outer space, encounter extraterrestrial creatures, imagine apocalyptic futures, and deconstruct their own notions of reality. By the course’s end, students will become familiar with the genre’s conventions, practice worldbuilding through short screenplays and character biographies, and assess the genre’s relevance to contemporary scientific and cultural developments. No prior knowledge of film history or production is required.
  

• Film History: The ’60s 

  This semester in Film History, we will be focusing on how the U.S. film industry came to be and how it took a big hit in the sixties. Using Robert Sklar’s Movie-made America, students will consider the power of the industry and how it has shaped certain films, and in turn how technology and theory progressed the business of film. They will also examine the impact that the industry had on the larger culture and how television began to erode this influence. In all, students will walk away with the ebbs and flows of the business of cinema through the slight demise of Hollywood’s reign.

• Film Production

  Film Production concentrates on student vision and desire to create filmic material. We use student created pieces to spark lectures and discussions on knowledge needed to obtain said product. The student will gain an immense amount of hands on learning as well as theory to better shape their understanding of how cinema is made. At the end of the year students should be able to display a competency with equipment and an understanding of positions, genres, motifs, and the running of a shoot.

• Film Production: Horror & Comedy

  This course will introduce students to the craft of horror and comedy filmmaking. In the first half of the semester, students will explore formal and thematic problems of the horror film, such as suspense and the jump scare. In the latter half of the semester, students will explore formal and thematic problems of the comedy film, such as schadenfreude and satire. In production teams, students will experience every stage of the filmmaking process — from pre-production through post-production — in the creation of a short film. By the course’s end, students will create polished short films in each genre, and explore the surprising similarities between these genres. No prior knowledge of film production or history is required.

• History of European Cinema 

  This year’s Film History course will provide a one-year introduction to 20th Century Film History as it took place in Europe. We will progress roughly by decade, looking at the cinema through singular exemplars from different countries. Emphasis will be placed primarily, but not exclusively, on masterworks such as La grande illusion, Der blaue engel, 8 1/2, Les quatre cents coups, and Dom za vesanje. Discussions will center both on the elements of filmic craft and historical context, including divergent national modes of production. Assessment will necessarily depend on each student’s goals and prior experience, and will depend upon research, writing, and especially presentation and class participation. A final exam will be given at each term’s end.

• iPhone Photography

  This course will introduce photographic methodology and study images that have remained world icons in the evolution of the photographic medium. This course includes critiques, art statements and a group exhibition. For the second part of the semester, we will study the work of a few photographers who introduce the world to Photo Collage and we will try this technique in order to produce the second portfolio of the semester. We will use the camera contained in students’ personal phones.

• Music Theory I

  This course provides an overview of Western music theory. Through close tutorial, students will master the basics of harmony and composition. The majority of students will be musicians, but musicianship is not required; this class is meant to augment performative instruction.

• Music Theory II

  This course builds on the knowledge learned in Music Theory I. Students continue to study songwriting and arrangement, structural theory, and band theory at a more elevated level.
  

• Objects in Motion

  How did they do that? In this class we will initially explore contemporary puppetry and object theater, and attempt to design and engineer objects and kinetic sculptures that have been inspired from our research. Students will then find/make and animate objects in a variety of ways that creates meaning over a duration of time. Nuance suggested by movement, ambiance created by light and sound, and the juxtaposition of objects/images will be used to create a visual rhythm, express an idea, or tell a story. By selecting and composing each moment, even the most mundane event can be transformed into a memorable experience. There are four research based presentations required for credit in this class. Students must also complete four objects capable of motion- present them in motion and finally- they must be performed before an audience. Students must also maintain a sketchbook which demonstrates thinking about articulating motion. A notebook is also recommended for class notes, definition of terms, and research on contemporary puppet theater groups.

• Observational Drawing and Landscape Painting in Oils

  This class continues from “Alla Prima Introduction to Oils” which was offered in the Fall. From January until March 1 this class will focus on observational drawing skills such as: thumb-nail compositions, two and three-point perspective, value studies and expressive mark-making. After March 1 the class will shift to observational painting in oils, and when the weather permits we will move outdoors to paint “Al Fresco” in the fresh air. The class is limited to 6 students and some studio experience is preferred.

• Observational Painting 

  This class instructs students in the techniques and theory of observational painting. We will begin with honing basic drawing skills, moving on to pastels, watercolors, oils and finally, time permitting, egg tempera and encaustic. As students learn to observe value, color, light and form, we will also explore the differing challenges of these long-established media. Group and one-on-one critiques will foster an understanding of representation as a means of expression in two-dimensional image-making.

• Playwriting

  Playwriting is an independent study of the craft and art of playwriting. Continuing with work that was started last spring, participating students will draft and workshop ten-minute plays, which may be further developed into longer formats. These plays may be periodically introduced as readings in CHS’ Theater Production Class and to the public as Zoom performances throughout the semester. Participants will explore various forms of dramatic structure and storytelling through dialogue while finding their own voices. The course will meet once a week for workshops and readings.

• Print Making

  Printmaking is a semester-long class that introduces students to both silkscreen and relief printing techniques. Utilizing class demonstrations, historical lectures and workshop instruction, students will learn the technical concepts and skills required of the medium, its art-historical tradition, and the social and conceptual utility of this process-heavy medium. By semesters end students will create four or more editions of printed work.

• Poetry Writing

  We will discover what happens when language ceases to be a thing we use, and becomes a thing we play with, explore, and live within. Students will become sensitive to the rhythmic, conceptual, aural, expressive, and psychological dimensions of language and learn to craft them into verse and, when appropriate, perform them. While developing a body of work according to their own poetic sensibilities, students will engage with a wide variety of poetic forms and approaches, from rhymed and scanned sonnets and villanelles to visual and sound poetry.

• Printmaking: Relief, Intaglio, Lithography

  This course offers students instruction and lab experience in lino-cut relief printing, intaglio printing, and kitchen lithography. Students will complete at least one edition in each medium and a final project in a print medium of their choice. Critiques will help first time and veteran printers to hone their abstract thinking, visual investigation, and critical discussion skills. Lectures, gallery visits, and dialogue will enrich students technical, historical, and conceptual awareness of not only printmaking, but visual culture at large. Students will endeavor to improve the craftsmanship, visual expressivity, and conceptual reach of their work. As empathy and teamwork are essential tools of the printing process, students will work creatively and constructively with their peers.

• Puppet Making and Puppeturgy 

  Puppetry is a powerful form of expression that is being rediscovered in theater, live art and visual art and over the past decade has increasingly taken center stage in festivals and mainstream productions. This two semester interdisciplinary arts course combines 2D and 3D studio art, traditional crafts, creative writing and object-based theater as seen through a dramaturgical lens. Students will be encouraged to explore their own creativity in developing objects, characters and scenarios throughout the course and will be expected to present their work publically at least twice each semester. Students will also be expected to research historical and international puppetry forms and to complete a research project on contemporary performance practices in object based theater.

• Reproducing Media 

  Printmaking and Photography Printmaking is a semester long class that introduces students to both silkscreen and relief printing techniques. Utilizing class demos, historical lectures and workshop instruction, students will learn the technical concepts and skills required of the medium, its art-historical tradition, and the social and conceptual utility of this process-heavy medium. By semester’s end, students will create four or more editions of printed work.

• Sculpture and 3D Design 

  Students will explore sculptural form through hands-on studio projects as well as instructor-led demonstrations, lectures, and studio guidance. Building skills are emphasized along with critical observation and discussion. Throughout the building process students will learn important problem solving skills as well as creative idea development.

• Still Life Painting 

  Students interested in taking this advanced studio class must demonstrate a familiarity with the paint medium and the application of oil for this class. This class teaches color mixing and color matching, blocking in shapes, and compositional variations. Everyday objects are used as references, and students are encouraged to attempt a realistic rendition of the object, but accuracy is not the primary objective. This course also guides the student through the process of planning, under painting, layering and glazing to completing a canvas.

• Studio Assistance For Solo Exhibition

  Students will work on a variety of projects under the direction of the teacher preparing for a gallery exhibition. Projects will include large woodblock printing, sculpting large figures and smaller objects in paper mache, scripting and cutting for shadow puppets for performances. Some sessions will take place off-campus, and a Studio “Lock-in” weekend is anticipated.

• Studio Protocol

  This class is a foundational introduction to the guidelines and procedures to be used in studio arts classes. The term “protocol” in the case of this class refers more to the development of a plan to carry out a project rather than a formal and strict set of rules. Throughout this year-long course, students will compile their own guidelines and proper procedures to aid them in the uses of a variety of artistic techniques. Students will be graded based on the frequency and reliability with which they complete projects in a safe and orderly manner.

• Watercolor: Projects & Proposals

  Watercolor (or also known as aquarelle) dates back in history longer than Gouache and Poster Paint (often incorrectly called tempera). All three consist of pigments suspended in water-soluble elements. Watercolor and gouache have finer pigments and can come in both tube and pans while poster paints, with more coarse pigments, often comes in jars (true tempera uses egg yolks as a binder). Poster paint is thicker and paint to water ratio is higher compared to the other two. This class will focus on the basic techniques needed to execute a watercolor painting. Students will be required to follow instructions carefully for the first few projects and to be responsible for preparing their paper, proper care and cleaning their equipment and professionally presenting their Proposals: matted and placed in a portfolio (or framed). Students will be required to complete four of five Projects (matting Project #4 is required), four out of five Proposals and seven out of nine Art History Presentations to receive credit for this class. In order to complete a Project a student must have attended an entire class demonstration and have minimum of five hours of studio painting time logged. In order to complete a Proposal the painting must be exhibition-ready by the due date. Classes will be largely self-directed during studio hours on Monday and Friday, and the first hour of Wednesday’s class will be devoted to art history. The remainder of art period on Wednesday will be preparation studio time, where students can stretch paper, matt paintings or prepare sketches for future Proposals.