Philadelphia College of Art 1985-87 Course Catalog The Philadelphia College of Art gives equal consideration to all applicants for admission and financial aid regardless of race, color, sex, religion, national or ethnic origins, or handicaps.

All information listed herein is subject to change.

Philadelphia College of Art Broad and Pine Streets Philadelphia, PA 19102 215-893-3174

Contents

1 Fields of Study/Major Programs 2 Academic Advisement 3 Academic Requirements 5 Foundation Program 7 Architectural Studies 10 Craft Departments 16 Graphic Design 19 Illustration 21 Industrial Design 23 Painting and Drawing 26 Photography/Film/Animation 30 Printmaking 33 Sculpture 35 Fine Arts Program 38 Libera] Arts 46 Art Therapy 47 Education 49 Master of Arts in Art Education 51 Continuing Studies 53 Enrichment Program 56 Student Services, Residential Life and Counseling and Career Center 57 Registrar and Records Student Regulations 58 Academic Regulations 62 Admissions 64 Tuition & Expenses 65 Financial Aid 67 Scholarships 68 Faculty Biographies 82 Administration 84 Information Telephone Numbers 85 Index Fields of Study Studio Major Programs Programs

PCA is a comprehensive college of the visual Sophomore Year

arts, offering a full range of study in art and Students choose a major in the sophomore year design. The college maintains demanding stan- from one of nine departments: dards and encourages students to develop in- Craft— which includes Ceramics, Fibers, novative approaches to their work. PCA offers Metals, and Wood coursework toward a BFA degree in Painting Architectural Studies and Drawing, Sculpture, Printmaking, Graphic Graphic Design Design, Illustration, Photography, and Crafts; Illustration a BS degree in Architectural Studies and In- Industrial Design dustrial Design; an MA degree in Art Educa- Painting and Drawing tion; and a special concentration in Art Photography and Film Therapy. Printmaking Sophomore students can take advantage of a Sculpture new Fine Arts major program. Developed cooperatively by the departments of Painting Junior and Senior Years and Drawing, Photography/Film, Printmaking, Students concentrate increasingly in their and Sculpture, students in the program con- major during the last two years of study. Many centrate in one department but are required to departments offer opportunities to study off register for courses in the other three disci- campus during this period. Frequent field trips plines. to museums and galleries in Philadelphia and neighboring cities supplement the work in studios and workshops.

The major studio concentration is augmented by required and elective courses in other de- partments to encourage an awareness of the productive interaction that can occur between the many disciplines available at the College.

Alternative career opportunities are often de- veloped by students stimulated by courses out- side their major.

Class Size and Structure

Each department is unique, with its own cur- riculum and structure, but in every department classes are small and casual. Faculty advisers

and the generous 11 to 1 student/faculty ratio assure close individual attention and assis- tance throughout a course of study.

One of the important teaching modes at PCA

is the critique, or "crit," an evaluation of stu- dent work by the instructor with participation by the class. Given informally to the class or individual as often as once a week, crits have proven to be an invaluable method for the de- velopment of self-criticism, which is a major goal in the educational program. Academic Advisement

Academic Advisement at the Philadelphia Col- Departmental Advisement lege of Art is designed to provide maximum A student's progress and welfare within the information and assistance to students from several instructional programs of the College the time they enter the Foundation Program in are primarily the responsiblity of the major until their their freshman year they complete department. In addition to providing each stu- final semester as seniors. dent with the guidance of an assigned faculty

In the Foundation year, each student is as- adviser, the department's faculty and its chair- signed to a Foundation section with its own person undertake to establish and promote adviser. Each student is required to meet with appropriate standards of performance. the adviser at least once each semester, and Beyond the College's minimum requirements, is out the ad- each student encouraged to seek each department may establish additional in- viser as soon as any difficulties begin to occur. major requirements with respect to attendance, At the end of the Foundation year, when the lateness, and related matters. student selects and enters one of the major The chairperson, with the concurrence of the departments at PCA, the student is assigned faculty, may: in that de- to a faculty member who teaches 1. Establish a minimum major course grade partment. This faculty member serves as that or major grade point average requirement student's adviser for the next three years. Each higher than the minimum set by the Col- his or at least student meets with her adviser lege; students must be given written notifi- once a semester to discuss the student's cation of such requirements. encouraged to academic program. Students are 2. Place on probation students who fail to meet with advisers as often as necessary to meet the minimum grade requirement in a deal with any problems that arise. course required for a departmental major

Each professional department is assigned one or a College program. or more Liberal Arts faculty members who as- 3. Place a student on probation for academic sist both faculty advisers and their assigned reasons and define its terms in writing to students in the selection of a course of study. the student and the Dean of Academic

Transcript copies of student records are sup- Affairs. plied on request to faculty advisers by the Reg- 4. Dismiss a student from the department for istrar following the recording of grades each academic deficiencies with written notifica- semester. tion to the student and the Dean of Academic Affairs.

Each department will provide student majors with written statements describing any addi-

tional requirements for its programs.

Every student must have the approval of his or her department to proceed to the next level of

course work. It is the departments responsibil-

ity to keep each student informed of his or her progress toward graduation. And finally, the student's petition to graduate must be approved by the department chairperson in conference with his or her facultv. Academic Requirements

Credit Distribution Credit by Examination Graduation Requirements

The student is ultimately responsible for com- Students who qualify may request credit by It is the student's responsibility to complete pletion of all course requirements for the de- examination in Liberal Arts subjects. The stu- requirements for the BFA. BS, or MA degrees. gree program in which he or she is enrolled. dent must forward examination results to the To be certified for graduation, a student must Office of the Registrar. Examination credit will fulfill all applicable credit requirements, The College requires a minimum of 132 credits require the approval of the Office of Academic satisfy the minimum residency requirements, for graduation. A student carrying an average Affairs and the chairperson of the Liberal Arts achieve a minimum cumulative GPA of 2.0 of 16.5 credits per semester is considered to Examinations/evaluations will be ("C" average) for the BFA and BS degrees and be making normal academic progress toward division. charged at a rate of per credit. a 3.0 ("B" average) for the MA degree, receive graduation. S50.00 the approval of his or her department chair- The general credit structure is as follows: Credit by Portfolio Review person as having met all major requirements, Courses Credits Students who qualify will be granted credit by and submit a graduation petition to the Office Foundation 18 portfolio review in Studio subjects. Portfolio of the Registrar. Major Department credits 45 credit requires the approval of the appropriate Students are advised to secure and file the nec- Other required credits outside the Studio major chairperson. Academic standing essary form with the Office of the Registrar department 6 and course credit based on portfolio evaluation as per the dates specified in the academic Remaining electives (9 credits must be is normally determined during the admissions calendar. taken in a department other than major) 18 process. Students may, however, request Liberal Arts 45 reevaluation at the discretion of the appropriate Graduation with Honors Total credits 132 Studio major chairperson. A student may graduate with honors if he or within General program requirements vary she achieves a minimum cumulative GPA of department. Departments issue a list of each Transfer of Credit 3.5 at the conclusion of the semester prior to required courses at appropriate times during Students entering PCA as first-time freshmen graduation. year. Majors must follow both departmental the must earn 30 credits of Liberal Arts courses requirements for specified courses and the (of the required minimum of 45) at the College. Dual Degrees recommended sequence in which these courses A maximum of 15 credits in Liberal Arts may- A student may graduate with a major in two chairperson are to be taken. The department provided the course- be acquired elsewhere, departments if he or she completes the require- must approve any exception to these work involved does not duplicate courses al- ments for each department. Likewise, a stu- regulations. readv taken or available at PCA. dent who wishes to graduate with both, a Bache- The Art Therapy and Education Programs are Before enrolling in a Liberal Arts course in lor of Science and a Bachelor of Fine Arts must special courses of study that are offered in con- another accredited institution, with the inten- complete the requirements for each degree. junction with a studio major program. Inter- tion of transferring credits to PCA degree Anv course that fulfills a requirement in one to the program ested students should refer requirements, students should meet with the degree program may be applied toward the descriptions in those departments. Liberal Arts chairperson for an evaluation of requirements of the second degree program.

the course to see if it will fulfill Liberal Arts Credit Ratio Hour requirements. Courses not approved may not Return Degree Program Credit is earned at the ratio of one credit for be accepted. Diploma graduates of the College are eligible one class-contact hour in the Liberal Arts A total of twelve (12) hours of Liberal Arts to attain the Bachelor's degree from PCA. All courses. Credit is earned at the ratio of one credits must be taken in 300-400 level studio requirements for the degree are consid- credit for two class-contact hours in studio courses. ered satisfied by the earned diploma. To earn courses. the Bachelor's degree, students must complete Residency Requirements the 45-credit-hour requirement of the Liberal Dean's List equivalent Every transfer student must complete a mini- Arts division. Appropriate and Full-time matriculated students whose semester from other accred- mum of two semesters in residence preceding courses may be transferred is 3.5 ("B ") or higher will be accorded Liberal GPA + graduation and must earn a minimum of 33 ited institutions (see description of the the distinction of inclusion on the Dean's List. in this publication). credits in Studio and/or Liberal Arts courses. Arts division included This list is compiled each semester and is re- completing Students must transfer or complete the re- Students may wish to consider corded as part of the student's permanent Level quired Liberal Arts and Studio major depart- some of the courses through the College record. information ment courses stipulated for the degree regard- Examination Program. For other Office less of the number of credits completed at and requests for admission, contact the other accredited institutions. The number of of the Registrar. credits required for completion of the Studio

major is determined by the chairperson of the Studio major department. The remaining Lib- eral Arts requirements are determined through the transfer credit evaluation process cited above. For this reason, transfer students may be required to remain in residence at PCA for more than the minimum two semesters and to complete more than the minimum 33 credits.

5

Foundation

The Foundation Program at the Philadelphia College of Art provides the incoming freshman with a year of study devoted to a basic under- standing of principles and concepts in the visual arts.

The studio curriculum is composed of three courses: Drawing, Two-Dimensional Design, and Three-Dimensional Design. Each class meets for three hours, twice a week.

Each student is a member of a Foundation sec- tion which has a team of three faculty members who stress not only the independent disciplines but the interdependent character of the con- cepts of these disciplines. Through these basic studies and their interaction, the student dis- covers the underlying values and principles

important to the development of all visual artists.

Classroom work is enriched by home assign- ments, critiques and reviews, guest artists,

films, slides, and class trips.

One faculty member from the section's team is designated as the adviser from that section.

Students meet individually with the adviser to discuss concerns, the registration process, and their choice of major.

Along with the Foundation courses of Drawing, Two-Dimensional Design, and Three-Dimen- sional Design, the student chooses an addi- tional course offered by the studio departments each semester. These elective courses are de- signed to acquaint the student with the prac- tices of the major studio areas. Students also register for two Liberal Arts courses, one Faculty in Art History and one in Language and Karen Saler, Co-Chairperson Expression. Elsa Tarantal, Co-Chairperson The regular freshmen is rostered for 16. Tom Butter credits each semester, usually as follows: Dante Cattani FP 100 Drawing 3 credits Sharon Church FP 120 Two-Dimensional Design Ron Dorfman 3 credits Eileen Taber Goodman FP 190 Three-Dimensional Design Gerald Herdman 3 credits Jean Jaffe Studio Elective Course 1.5 credits Jacqueline Jacovini Liberal Arts 6 credits Bob Keyser Niles Lewandowski 16.5 credits Leon Lugassy Frank Mallas John Mathews

Robert F. McGovern

Albert J. Pastore Michael Rossman Charles Searles Richard Stetser Raymond Spiller Sherri Vita Lily Yeh Foundation Program Credit Requirements

Freshman/Foundation Credits FP100 Required Courses: Drawing FP 100 Drawing 6.0 6 hours a week FP 120 Two-Dimensional Design 6.0 3 credits/semester: fall and spring FP 190 Three-Dimensional Design 6.0 The student pursues the investigation of draw- Recommended Credit Load: ing strategies on both a perceptual and con- Studio Electives 3.0 ceptual level. The use of line and tone are Liberal Arts 12.0 developed to examine the basic forms and structures and build a visual vocabulary. Exer- Freshman Year Total 33.0 cises are designed to acquaint the student with many aspects of drawing as a process.

FP120 Two-Dimensional Design 6 hours a week 3 credits/semester: fall and spring

Working with point, line, shape, and color, the student examines the principles of two-dimen- sional design. Projects are designed to focus on the interaction of these elements to yield coherent organizational principles, spatial illu- sion, and integrated compositional units.

FP190 Three- Dimensional Design 6 hours a week 3 credits/semester: fall and spring The student explores the physical and visual properties of three-dimensional form. The studio experience emphasizes formal analysis and three-dimensional design processes, using diverse materials, to study concepts of struc- ture, organization, and aesthetics. Architectural Studies

The Architectural Studies Department offers a pre-professional course leading to a Bachelor of Science degree. Recognizing that the poetic dimension is the carrier of meaning of society, emphasis is placed upon plastic realization of projects grounded both in personal vision and in an intensified historical consciousness. The program is designed to raise, within the work, a critical and questioning attitude concerning architecture today.

The liberal arts-enhanced curriculum places emphasis on the individuals intellectual curi- osity and creative sensitivity while mastering the necessary skills and background for per- sonal exploration and growth. Course work revolves around a studio structure dealing with architectural design, drawing, history, and theory, as well as building technique. Drawing

particular advantage from its art-school setting, the department covers that field of concern which rational methodologies have overlooked.

It seeks the ground upon which a poetry of architecture articulates meaning extending beyond mere technique.

Graduates complete their studies with an in- creased awareness of the implications and questions surrounding architecture today. They are able to compete successfully in both the professional arena and in the area of graduate studies.

Faculty Larry Mitnick. Chairperson Tom Buck Mark Cahill Laurie Feinberg Elizabeth Swartz Joseph Wong Architectural Studies Credit Requirements

Sophomore/Introductory Credits AS 210 A & B AS 214 A Required Courses: Design Studio Drawing I AS 210 Design Studio 12.0 6 hours, twice a week 3 hours, twice a week 6 credits/semester: fall and spring 3 credits/semester: fall AS 214 Drawing I 6.0 AS 202 Technology A & B 3.0 Vico's understanding that man first defines Investigation into various accepted techniques Recommended Credit Load: dwelling in a poetic sense is the point of depar- of architectural delineation—plan, section, Liberal Arts 12.0 ture for a series of problems intended to axonometric— in order to prepare the student familiarize the student with the more active for an in-depth questioning of the various Sophomore Year Total 33.0 thread of meaning which has coursed through meanings implied in their use. Not merely a

architecture. Emphasis is upon the realization drafting course, the intention is to define the Junior/Intermediate Credits of projects in the form of models and drawings ground upon which thinking finds its limits in Required Courses: —a coming to terms with design in its more drawing and vice versa. AS 310 Design Studio 12.0 profound sense. AS 320 Case Studies in AS 214 B Architecture History 3.0 Liberal Arts Requirements Drawing I Studio Electives 9.0 LA 345 A & B 3 hours, twice a week AS 314 Drawing II 3.0 History 3 credits/semester: spring AS 302 Technology II 3.0 6 credits of History of Architecture Techniques for "seeing" architecture will be Recommended Studio Electives: investigated in order to uncover the limits as IN 102E Design Drawing 1.5 Freshman Elective well as more relevant meanings of various IN 112E Perspective Drawing 1.5 AS 101 types of drawing. Recommended Credit Load: Design Studio Liberal Arts 12.0 3 hours, once a week AS 202 A 36.0 Building I: Junior Year Total 1.5 credits/semester: fall and spring Technology Structure 3 hours, once a week Introduction to the study of architecture as it Senior/Advanced Credits 1.5 credits/semester: fall manifests itself in an articulate materiality, non-quantitative approach to the behavior Required Courses: and in problems of interpretation. A of AS 410 Design Studio 12.0 structures. Identification of the various charac- AS 420 Advanced History/ Note: teristics and reactions due to the development of stresses generated primarily in determinate Theory of Architecture 1.5 All curriculum for 1985-86 may be subject to Studio Electives 7.5 change. structures. Choose 4.5 credits from the following: AS 414 Drawing III: AS 202 B Contract Documents 1.5 Building Technology I: Construction I

AS 402 Technology III: 3 hours, once a week Structural Design 3.0 1.5 credits/semester: spring

AS 430 Communications and Methods and materials of construction. Investi- Presentation Graphics 1.5 gation of wood, masonry, concrete, and steel Recommended Outside Dept. Electives: construction. IN 305E Acoustics and Prerequisite: AS 202 A Illumination 1.5 IN203E Media Study 1.5 LA 345 A Liberal Arts History of Architecture

Senior Year Total fall Introduction to key buildings and theoretical texts from antiquity to the Gothic period.

LA 345 B History of Architecture spring

Introduction to key buildings and theoretical texts from the Benaissance to beginning of the twentieth century. AS 310 A & B AS 320 Design Studio Case Studies in Arch. History 6 hours, twice a week 6 hours, once a week

6 credits/semester: fall and spring 3 credits/semester: fall

An extension of those values established in An in-depth study documenting, analyzing, the sophomore year, this studio's focus shall and interpreting major works of architecture. be the isolation of tendencies and interests exhibited in the previous year. With the em- IN 102 E phasis upon the physical realization of pro- Design Drawing jects, the work will be an in-depth search 1.5 credits through the context and implications surround-

ing a given topic. The goal is to find the spe- IN 305 E cific content which will point to that area out- Acoustics and Illumination side of mere topic or idea. 1.5 credits

AS 314 AS 410 A & B Drawing II Design Studio 3 hours, twice a week 6 hours, twice a week

3 credits/semester: spring 6 credits/semester: fall and spring

A parallel to the design studio— the meanings Development of mature work as both an exten- attached to different types of architectural rep- sion and synthesis of previous years' work.

resentation are to be questioned within the Spring semester: fall semester students are context of the student's ongoing work. The re- asked to submit a proposal for their graduation sult should be drawings which act both as project for approval. documentation of projects and as critiques of the very methods used. AS 414 Drawing III: Contract Documents AS 302 A 3 hours, once a week Technology II: Construction II 1.5 credits/semester: spring 3 hours, once a week Instruction in and the production of a complete 1.5 credits/semester: spring set of documents for construction.

Continuation of Construction I with emphasis on masonry and steel construction systems. A AS 420 study of the principles of construction in terms Advanced History/Theory of Architecture of materials and assemblies used in the follow- 3 hours, once a week ing systems: the structural system, the building 1.5 credits/semester: fall envelope, the interior systems. Issues of joints, Investigation of selected topics in Architectural connecting assemblies, construction sequence Theory. Guest lecturers. will be studied in large-scale detail. Emphasis will be on the interaction between the prag- AS 402 A & B matic and the expressive issues involved in Technology III: Structural Design the design of construction details. 3 hours, once a week Prerequisite: AS 202 B 1.5 credits/semester: fall and spring

Statics and strengths of materials. Technology IN 203 E III is recommended for those who wish to go Media Study for the Interior Designer on to graduate school for their professional 1.5 credits degree.

IN 112 E AS 430 Perspective Drawing Communications and Presentation 1.5 credits Graphics 3 hours, once a week AS 302 B 1.5 credits/semester: fall Technology II: Environmental Control Systems Instruction and professional assistance in vi- sual communication techniques, with emphasis 3 hours, once a week on the development of portfolios, resume, and 1.5 credits/semester: spring presentation methods. Working knowledge of An examination of mechanical systems, com- existing reproduction technologies. ponents, and materials used to control and affect interior/exterior environment. Integration AS 999 of environmental control systems in design Independent Study process. Crafts

The Crafts Department seeks to develop artists of originality and resourcefulness who can excel in the most competitive professional en-

vironment. Studio experience is provided in four major craft areas: ceramics, fibers, metals, and wood. There are also offerings in glass and plaster to complement the curriculum.

Each major area offers a balanced concentra- tion in both the technical and aesthetic aspects of the medium. While practical training and specialized skills are necessary for creative agility, the conceptual and expressive evolution

of each student is the essential focus of the department. An ongoing study of the contem- porary crafts movement is seen as an integral element for those involved in the program. The range of faculty in each area provides the stu- dent with exposure to a diversity of profes- sional perspective and experience.

Through an incisive and rigorous curriculum,

the department is devoted to preparing stu- dents for professional involvement in their

craft. Upon graduation, students elect to become independent artists, teachers, or de- signers, or find employment in industry. Indi- viduals often combine these occupations in order to meet their singular needs and goals.

Faculty Richard H. Reinhardt, Chairperson Ceramics William Daley Larry Donahue Lizbeth Stewart Petras Vaskys Fibers Sherry Gibson Kris Parker Warren Seelig Glass Roland Jahn Metals Sharon Church Leon Lugassy Rodney McCormick Richard H. Reinhardt Wood Robert DeFuccio Richard Kagan

10 Ceramics Major Credit Requirements

All Department Courses Sophomore/Introductory Credits CR 211 A & B Required Courses: Introduction to Throwing 999 Independent Study CR 201 Introduction to Concept 6 hours, once a week 3—6 hours Development 3.0 3 credits/semester: fall and spring 1.5-3 credits/semester: fall-spring CR 211 Introduction to Throwing 3.0 Beginning studio work with clay using the An independent course of study dealing with a CR 212 Introduction to throwing process and related glazing and firing particular issue of interest to student and one Handbuilding 3.0 techniques. or more faculty. Prior approval by the chairper- Craft Introduction Course in son required. Chosen Craft 6.0 CR 212 A & B Recommended Credit Load: Introduction to Handbuilding Students in every area must attend: Studio Electives 6 hours, once a week (CR 251 Moldmaking- 3 credits/semester: fall and spring CR 201 A & B Casting) 6.0 Beginning studio work with clay using the Introduction to Concept Development Liberal Arts 12.0 handbuilding processes of slab, coil, pinch, 3 hours, once a week Sophomore Year Total 33.0 and pressing from molds, plus related glazing 1.5 credits/semester: fall and spring and firing techniques. A two-part course in the study of visual investi- Junior/Intermediate Credits gation and manipulation of formal ideas. CR 251 A & B Required Courses: Moldmaking-Casting CR 313 Ceramic Technology 3.0 CR301 6 hours, once a week CR311 Intermediate Ceramics 6.0 Contemporary Crafts 3 credits/semester: fall and spring CR 312 Intermediate Ceramics 6.0 1.5 hours, once a week CR 301 Contemporary Crafts 3.0 Plaster-working skills; model and mold mak- 1.5 credits/semester: fall and spring ing. Modeling techniques. Preference for regis- Recommended Credit Load: The development of contemporary crafts is tration is given to Crafts majors. Studio Electives 3.0 surveyed through a study of individual artists Liberal Arts 12.0 whose significant contribution has been in the CR 311 A & B Junior Year Total 33.0 field of ceramics, glass, wood, metal, or fiber. CR 312 A & B Emphasis is placed on twentieth-century Intermediate Ceramics Senior/Advanced Credits American craftsmen. 6 hours, twice a week

Required Courses: 6 credits/semester: fall and spring CR 401 Crafts Seminar 3.0 CR 401 A & B Studio work with clay to develop individual CR 411 Advanced Ceramic Studio 6.0 Senior Craft: Crafts Seminar ability with the processes and concepts of the CR 412 Advanced Ceramic Studio 6.0 3 hours, once a week craft. Demonstrations and projects are given 1.5 credits/semester: fall and spring Recommended Credit Load: by the instructor. Studio Electives A forum for the discussion of ideas and issues 9.0 Prerequisite: CR 211 & CR 212 Liberal Arts 9.0 of concern to students of crafts through student participation, guest lecturers, and professional Senior Year Total 33.0 CR 313 A offerings. A study of style and the survival Ceramic Technology: Clays & Kilns techniques of contemporaries working in craft 1.5 hours, once a week media will be emphasized. 1.5 credits/semester: fall

A lecture and lab course to investigate the theoretical and practical aspects of clays, clay bodies, and kilns.

CR 313 B Ceramic Technology: Glazes 1.5 hours, once a week 1.5 credits/semester: spring

A lecture and lab course to investigate the theoretical and practical aspects of glazes.

CR 411 A & B CR 412 A & B Advanced Ceramic Studio 6 hours, twice a week

6 credits/semester: fall and spring

The intensive work in personal development is handled on a one-to-one basis with the instruc-

tor. The guidance offered affirms the students development as a distinct and creative person. Prerequisites: CR 311, CR 312

II CR 231 A & B Introduction to Glass Blowing 3 hours, once a week

1.5 credits/semester: fall and spring

Hot working molten glass at the furnace. Through demonstrations, assignments, and tutoring by the instructor, the students are guided toward mastery in off-hand blowing.

CR 231 A & B Introductory Glass 6 hours, once a week 3 credits/semester: fall and spring

Glass is considered as an expressive and crea- tive medium. Students work with molten glass in off-hand blowing techniques and with flat glass in stained-glass techniques.

CR 331 A & B Advanced Glass 6 hours, once a week 3 credits/semester: fall and spring

Glass is considered as an expressive medium, and development toward a personal style is encouraged. Students work with hot glass in advanced off-hand work, blowing into molds, casting, and enameling, as well as advanced stained-glass work incorporating blown and cast pieces on two- and three-dimensional stained-glass problems. Prerequisite: CR 231

12 Fibers Major Credit Requirements

Sophomore/Introductory Credits CR 222 A & B CR 334 A Required Courses: Introductory Fibers: Media Exploration Fibers Technology hours, a CR 201 Introduction to Concept 6 once week 1.5 hours, once a week Development 3.0 3 credits/semester: fall and spring 1.5 credits/semester: fall CR221 Introduction to Fibers: A survey course which may be taken indepen- This lecture course systematically investigates Media Explorations 3.0 dently but does complement Introductory Fi- a wide range of fabric structures from simple CR222 Introduction to Fibers: bers Structural Investigation. Through a series to complex weaves. Students draft weave struc- Structural Investigation 3.0 of developmental assignments, students are tures to understand better the range of fabrics Craft Introduction Course in provided with a solid technical and conceptual possible on a multi-harness loom. The aes- Chosen Craft 6.0 base in the fabric media. Fall semester em- thetics of woven cloth are also discussed with

Recommended Credit Load: phasizes non-loom constructions and a a focus on the quality of line, stripe, pattern, Studio Electives 6.0 thorough study of color and multi-fiber dye and texture unique to the textile. Liberal Arts 12.0 techniques; spring semester focuses on woven color and advanced woven structures. CR 334 B Sophomore Year Total 33.0 Textile History CR 321 A & B 1.5 hours, once a week Junior/Intermediate Credits Introduction to Surface Design 1.5 credits/semester: spring Required Courses: 6 hours, once a week This lecture course surveys the major textile CR334 Fibers Technology 3.0 3 credits/semester: fall and spring cultures of the world, including Egyptian, Pre- CR321 Intermediate Surface Introductory class in fabric design which em- Columbian, Chinese, French, and English, Design 6.0 phasizes the techniques of silk-screen printing utilizing slides, books, and examples from the CR322 Intermediate Structural and the conceptual potential of the media. textile collection. The various textile styles are Fibers 6.0 Course material focuses on both screen-print- related to their historical, religious, and social CR301 Contemporary Crafts 3.0 ing processes, from basic cut-and-resist sten- background, as well as to the art and decora- Recommended Credit Load: cils to advanced photo stencils, as well as tive art occurring simultaneously. Studio Electives 3.0 hand-techniques: painting, stamping, sewing, Liberal Arts 12.0 and other construction. Textile pigments are CR 423 A & B Total 33.0 Junior Year taught fall semester; dyes are taught spring Advanced Surface Design semester. 6 hours, once a week Credits Senior/Advanced Prerequisites: CR 221 and/or CR 222 3 credits/semester: fall and spring

Required Courses: Advanced fabric surfaces, forms, and technical CR 401 Crafts Seminar CR 322 A & B problems are studies on an independent con- CR 423 Advanced Surface Design Intermediate Structural Fibers centrated level, guided by the students' ac- CR 425 Advanced Structural Fibers 6 hours, once a week quired knowledge and experience from previ- Recommended Credit Load: 3 credits/semester: fall and spring ous semesters into the areas which are relevant Studio Electives Through a series of developmental assignments to their interests — whether two- or three-di- Liberal Arts with a conceptual emphasis, and by using ac- mensional, functional fabric design or fine art.

Senior Year Total quired knowledge from previous semesters, Emphasis is on senior portfolio development students are encouraged to explore forms which and personalized assignments. CR 221 A & B reveal the inherent physical qualities and po- Prerequisites: CR 321, CR 322 Introductory Fibers: Structural tential image-making possibilities of fabric. Investigation Loom-woven and mixed-media fabric tech- CR 425 A & B niques are used as appropriate, depending on Structural Fibers 6 hours, once a week Advanced the student's interest in the development of a 6 hours, once a week 3 credits/semester: fall and spring diverse range of two-dimensional construc- 3 credits/semester: fall and spring A survey of both traditional and experimental tions, sculptural forms, costume, etc. on personal expression and style in use of materials and structural processes in Emphasis Prerequisites: CR 221 and/or CR 222 open studio where each student draws from the fabric media. Through a series of develop- an knowledge and experience acquired in previ- mental assignments, students begin to explore ous years. Through individual guidance and potential two- and three-dimensional forms in intensive group critique, each student begins preparation for a versatile and solid approach to define himself or herself as a unique and to the fibers media. Fall semester emphasizes creative individual. Portfolio preparation and loom-woven structures, tapestry, and a range senior thesis exhibition form a vital part of this of off-loom mixed-media techniques; spring course. semester introduces problems in constructed Prerequisites: 321, 322 surface/fabric collage and the study of fabric CR CR forms involving armature and skeletal fabric- support constructions.

13 Metals Major Credit Requirements

Sophomore/Introductory Credits Required Courses: CR 201 Introduction to Concept Development CR 241 Introduction to Jewelry and Metalwork CR 242 Introduction to Metalsmithing 3.0 CR245 Metal Technology 3.0 Craft Introduction Course in Chosen Craft Recommended Credit Load: Studio Electives 3.0 Liberal Arts 12.0

Sophomore Year Total 33.0

Junior/Intermediate Credits Required Courses: CR 341 Intermediate Metal 6.0 CR 342 Intermediate Metal 6.0 CR 301 Contemporary Crafts 3.0 Recommended Credit Load: Studio Electives 6.0 Liberal Arts 12.0 CR242 CR 248 A & B Junior Year Total 33.0 Introduction to Metalsmithing Introduction to Jewelry and Metalworking 6 hours, once a week 3 hours, once a week Senior/Advanced Credits 3 credits/semester: fall and spring 1. 5 credits/semester: fall and spring

Required Courses: Primary emphasis is placed on teaching the Jewelry is presented (beginning through ad- CR 401 Crafts Seminar 3.0 student basic metalworking skills to be used vanced) as a vehicle for individual, unique CR441 Advanced Metals Studio 6.0 in the making of functional and utilitarian ob- expression. Exploration in a range of media is CR442 Advanced Metals Studio 6.0 jects. Raising, sinking, forging, forming, plan- encouraged, though emphasis is placed on Recommended Credit Load: ishing, joining, soldering, brazing, finishing, mastering basic metalworking techniques in Studio Electives 9.0 and patination are the basis for a solid intro- an effort to give the student total flexibility in Liberal Arts 9.0 duction. The sculptural application of these realizing his or her designs.

is encouraged in the development Senior Year Total 33.0 techniques of a personal aesthetic. CR 341 A & B CR 342 A & B CR241 Intermediate Jewelry and Metalsmithing Introduction to Jewelry Making CR243 Rendering and Design 6 hours, twice a week 3 hours, twice a week Jewelry 3 hours, once a week 6 credits/semester: fall and spring 3 credits/semester: fall and spring 1.5 credits/semester: fall and spring Continued development through more ad- The beginning jewelry student is asked to de- is with will explore two-dimensional pencil vanced metalworking processes coupled velop his or her own ideas about jewelry as a Student This increased gouache techniques effective in creating refinement of skills and ideas. medium of personal expression. Numerous and greater indi- illusion of finished pieces of jewelry. Em- versatility provides potential for concepts of body adornment are explored and the vidual expression and aids the student in for- is placed on the skill development nec- basic metalworking skills that apply specifi- phasis personal goals. essary to communicate and evaluate ideas prior mulating cally to jewelry making are covered: soldering, Presentation and development of a Prerequisites: CR 241, CR 242 forming, forging, riveting, surface embellish- to making. portfolio are an integral part of the course. ment, and basic stone setting. Innovation in CR 441 A & B design, choice of material, and use of process 245 A B CR 442 A & B is encouraged. CR & Metals Technology Advanced Studio: Jewelry and 1.5 hours, once a week Metalsmithing hours, twice a week 1.5 credits/semester: fall and spring 6 6 credits/semester: fall and spring A lab, lecture, and demonstration course in- metal- vestigating the theoretical, practical, and This final year is devoted to mastery of physical properties of metals and other mate- working skills and the search for unique and appropriate application. A student's personal rials as they relate to methods of construction, senior thesis, an forming, and finishing. Maintenance of related expression finds focus in the opportunity for in-depth exploration of an indi- tools and equipment will be studied. vidual's concept and technology. Prerequisites: CR 341, CR 342

II Wood Major Credit Requirements

Sophomore/Introductory Credits Required Courses: CR 201 Introduction to Concept Development CR 261 Introduction to Woodworking Craft Introduction Course in Chosen Craft Recommended Credit Load: Studio Electives 6.0 Liberal Arts 12.0

Sophomore Year Total 33.0

Junior/Intermediate Credits

Required Courses: CR 364 Wood Technology 3.0 CR 361 Intermediate Woodworking 6.0 CR 362 Intermediate Woodworking 6.0 CR 301 Contemporary Crafts 3.0 Recommended Credit Load: Studio Electives 3.0 Liberal Arts 12.0

Junior Year Total 33.0 CR 261 A & B CR 361 A & B Senior/Advanced Credits Introductory Woodworking CR 362 A & B Required Courses: 6 hours, once a week Intermediate Woodworking CR 401 Crafts Seminar 3.0 3 credits/semester: fall and spring 6 hours, twice a week credits/semester: fall and spring CR 461 Advanced Woodworking 6.0 An introduction to basic woodworking, hand 6 CR 462 Advanced Woodworking 6.0 and machine tools, wood joinery, and adhe- Further investigation of woodworking tech- Recommended Credit Load: sives, along with an exploration of the design niques, processes, joinery, and structure. Fur- Studio Electives 9.0 possibilities in wood. niture design problems involving solid and Liberal Arts 9.0 plywood case construction and chairs. Full- models to be produced by the Senior Year Total 33.0 scale working student. Prerequisite: CR 261

CR364 Wood Technology 1.5 hours, once a week 1.5 credits/semester: fall and spring A two-semester lecture-demonstration course that deals with shop procedures including the fundamentals of machine- and hand-tool align- ment, tool sharpening, and maintenance; the structure and design requirements of wood as a material; and the setting up of a woodworking business.

CR 461 A & B CR 462 A & B Advanced Woodworking 6 hours, twice a week 6 credits/semester: fall and spring

Intensive work in personal development is handled on a one-to-one basis with instructor. Emphasis on the design and construction of furniture with full-scale working models to be produced by the student. Prerequisites: CR 361, CR 362

15 Graphic Design

The combination of words, symbols, drawings, photographs, and diagrams to communicate ideas and products is the basis of graphic de- sign. In-depth experience in creating these components of graphic communications at a high level of formal excellence precedes their integration in larger sets of work such as visual identity programs, books and other publica- tions, exhibits, packages, or promotional units in the senior year. Opportunities for additional study of photography, animation, filmmaking, and emerging technologies are available.

Throughout the three years of major concentra- tion, problems in graphic communication are combined with exploratory and experimental studies in drawing, color, photography, and typography.

The curriculum is supplemented by special lecture programs, workshops with invited de- sign firms, and on-site seminars in selected design offices and studios, paper and printing plants, and with video-, film-, and computer- graphic producers.

With successful completion of the program, and depending on individual strengths, stu- dents are prepared for entry-level positions as graphic designers with, for example, design groups or studios, publishers, corporations, non-profit institutions, governmental agencies, architects and planners, or advertising agen- cies.

The faculty consists of practicing professionals with distinguished records of accomplishment

in their fields, sensitive and responsive to changes in the practice of design, while main- taining a clear sense of the bases for structur- ing communications.

Faculty Kenneth Hiebert, Chairperson Hans-U. Allemann Won Chung Jerome Cloud William Freeman Marshall Harmon

Marylou F. Hecht William Longhauser Penelope Malish Chris Myers Joseph Rapone Richard Ritter Kathleen Schenck-Row Christine Zelinsky

16 Graphic Design Credit Requirements

Sophomore/Introductory Credits GD210 GD300 Required Courses: Letterform Design Drawing for Graphic Processes GD 210 Letterform Design 3.0 3 hours, once a week 3 hours, once a week GD 211 Descriptive Drawing 6.0 1.5 credits/semester: fall and spring 1.5 credits/semester: fall and spring

GD 213 Design Systems 6.0 In the first semester, the emphasis is on free- This course emphasizes perceptive observation PF211 Introduction to hand drawing of letters in various media and of man-made objects. The student studies the Photography I 3.0 scale. The class addresses the historic aspects form and surface qualities of an object as de- Recommended Credit Load: of the Latin alphabet as a reference. The sec- scribed by light, and through a conscious Studio Electives 3.0 ond semester emphasizes precision and clarity selection of observed information and its trans- Liberal Arts 12.0 in individually designed letterforms and sets lation evolves a more significant visual symbol of related letterforms. The semester concludes of the Sophomore Year Total 33.0 object. in an introductory communication piece based

upon letterform design. The course is instru- Junior/Intermediate Credits GD302 mental in developing subtlety of optical re- Materials and Processes Required Courses: lationship; therefore the use of mechanical 6 hours, once a week GD 306 Typography 6.0 aids throughout the course is discouraged. GD 311 Communications 6.0 A course that utilizes a design project to ex- GD 302 Materials and Processes 1.5 plore and perfect techniques for crafting visual GD211 GD 315 Production Seminar images for reproduction, including cutting, Descriptive Drawing (2nd- or 3rd-year scoring, and pasting; friskets and masks; 6 hours, once a week requirement) 1.5 template fabrication; technical pens; paper 3 credits/semester: fall and spring Required departmental qualities and handling; measuring techniques; freehand drawing elective 3.0 A method teaches the stu- and others. dent consciously to observe, analyze, under- Recommended Credit Load: stand, and represent the underlying structure Studio Electives 3.0 GD306 and form of man-made and natural objects. In Liberal Arts 12.0 Design: Typography Emphasis the process a visual vocabulary line, of shape, 6 hours, once a week Junior Year Total 33.0 value, texture, and its spatial organization is 3 credits/semester: fall and spring developed as a means of research and inven- Senior/Advanced Credits The study and investigation of typographic tion. Logical representation rather than per- principles is related to communication needs. Required Courses: sonal expression is emphasized. Exploration is directed toward determining GD 411 Design Studio 6.0 visual hierarchy through typographic grammar GD 421 Problem Solving 6.0 GD213 and structure as well as examining its expres- Recommended Credit Load: Design Systems sive potential. Assignments familiarize stu- Studio Electives 12.0 3 hours, twice a week dents with current technological processes Liberal Arts 9.0 3 credits/semester: fall and spring through hands-on activity. Senior Year Total 33.0 This class is utilized as an intensive laboratorv to investigate the formal aspects of compo- GD310 sition, organic and geometric form, color, sym- Design: Photo Emphasis bolic drawing, craft, and the processes of con- 6 hours, once a week ception, all based in a serial format. All as- 3 credits/semester: fall or spring signments are founded on directed and playful This is an advanced course emphasizing design investigation to train the student in the areas as a way to achieve both structure and meaning of selection and visual logic. The year con- in photography, and as a way to extend the cludes with an introductory communication range of how objects can be seen and trans- piece. lated using photographic processes. Projects include the integration of graphic, typographic, GD105 GD215 and photographic elements as a preparation Graphic Design Projects Photomechanical Processes for applied communications. Involves exten- 3 hours, once a week 3 hours, once a week sive studio and darkroom work. 1.5 credits/semester: fall or spring 1.5 credits/semester: fall or spring Prerequisite: Introduction to Photographv This course is designed to introduce Founda- Preparation for and utilization of techniques tion students to a selected aspect of the graphic for reproduction available in the Typo Lab at GD311 design discipline. The classwork begins with PCA. Includes preparation, photomechanical Communications directed formal studies and leads to an intro- copy markup for typesetting, layout presen- 6 hours, once a week ductory communication project. Emphasis will tation, color separation, half-tone and creative 3 credits/semester: fall and spring be placed on the craft and working habits of darkroom techniques. Deos not include text This course concentrates on developing an the student, as well as the breadth and depth typesetting. Primarily for non-majors. understanding of formal relationships and how of the student's individual visual investiga- to use these to create visual impact and clarity tions, and offers the student an opportunity to while solving simple communications prob- measure his or her suitability to the Graphic- lems. Invention, intuition, and discovery are Design major. Past topics have included color, combined with logical thought and thorough drawing, and typography. preliminary research. Special attention is given to refining the student's perceptual abilities, hand skills, color sensitivity, and the integra- tion of other media.

17 GD315 GD421 Production Seminar Problem Solving 3 hours, once a week 6 hours, once a week 1.5 credits/semester: spring 3 credits/semester: fall and spring

A course to familiarize the student with the Approaches to solving communications prob- technical aspects of graphic reproduction, ser- lems of diverse character and increasingly vices, processes, and their specification practical application are developed in this through actual design projects. Includes field course. It assumes a high level of formal ability trips. of the student and places special emphasis on meeting time and budgetary constraints and GD316 developing clear and concise thought patterns. Drawing Applications GD423 6 hours, once a week Publication Design 3 credits/semester: spring 6 hours, once a week Drawing, as a primary design tool, enables the 3 credits/semester: spring student to develop pictorial images (signs) The subject of this course is the development which serve as means to representation and of a program for solving the communication communication of ideas, feelings, and informa- concerns of a publication ranging from book tion about a subject. The course culminates in design to periodical design. Emphasis is an application using drawing, color, and typo- placed on determining underlying page-format graphic form. systems, information hierarchy, visual GD322 sequencing, content accessibility, and audi- Three-Dimensional Graphic Design ence appropriateness through an investigative process. 6 hours, once a week 3 credits/semester: fall GD426 An elective course exploring the design of Advanced Typography messages in spatial environments ranging from 6 hours, once a week package design to exhibitions. 3 credits/semester: fall and spring GD324 In the first semester, selected senior students Graphic Design History are taught the basics of computer typesetting and address the formal aspects of text: spacing. 2.5 hours, once a week scale, form, legibility, meaning/information 1.5 credits/semester: fall or spring

1 hierarchy . Second-semester projects revolve An introduction to the history of graphic design around applications and experimental projects from the late nineteenth century to the present, within the conceptual and technical limits of showing the evolution of the contemporary computer typesetting. graphic designer. A lecture course with regular discussions and occasional related visual GD430 projects. Photographies 6 hours, once a week GD411 3 credits/semester: spring Design Studio Studio and darkroom processes are systemati- 6 hours, once a week cally manipulated to explore their potential for 3 credits/semester: fall and spring image-making. Experimental approaches to The development of visual identifiers for a firm yield new imagery are tested in specific com- or organization is preceded by study of prob- munications projects. lems in naming and symbology; cliches, stereotypes, and archetypes; demographics; History and existing usage. A program of applications Graphic Design Symposium

is developed covering a range from long- to An introduction to the history of graphic design short-term, from informational to expressive- from the late nineteenth century to the present, promotional, from small to large scale and in showing the evolution of the contemporary relation to a variety of materials and reproduc- graphic designer. Offered without credit in al- tion processes. In addition, the design of a ternate years.

professional portfolio is a second-semester project.

IK —

Illustration

Illustrators give visual substance to thoughts, stories, and ideas. The Illustration Department seeks to prepare its students for entry into the fields of book and periodical publishing, pro- motion, education, advertising, and specialty fields.

Illustrators must call upon a broad range of traditional and up-to-date competencies to re- spond to today's visual problems. As visual problem-solvers and communicators, illustra- tors need to be open-minded, eclectic, flexible, and imaginative. The illustrator's solution should be appropriate, intelligent, expressive, and visually engaging.

In order to prepare for a career in this competi- tive field, the PCA illustration student devel- ops skills that span two-dimensional media from painting and drawing to photography and technical image-making and reproduction pro- cesses. These skills are nurtured within a stimulating cultural climate provided by the resources of the faculty, of visiting profession- als, and of the College and the city at large. Each student progresses from general com- Illustration petencies to a personal viewpoint, clarified Credit Requirements career goals, and a professional attitude. Students may concentrate on either an adver- Sophomore/Introductory IL 200 A & B tising-oriented or pictorially oriented curricu- Required Courses: Pictorial Foundations lum. Students who wish to pursue the special once IL 200 Pictorial Foundations 6.0 6 hours, a week disciplines of scientific illustration and anima- spring IL 201 Design Foundations 6.0 3 credits/semester: fall and tion meet with a department adviser to outline IL 202 Figure Anatomy 5.0 Introduction to drawing and painting skills as the proper sequence of courses that these pro- IL 203 History of Ilustration l.o thev relate to illustration. Objective visual per- grams require. ception, clarity in drawing and technical fa- Required Studio Electives: cility are stressed. Continuing slide lectures PF 211 Introduction to Faculty student to applicable areas of art Photography 3.0 expose the Chairperson Frank Galuszka. history. Also presented are methods of research Recommended Credit Load: Karen Ackoff and development useful in creating Liberal Arts Barbara Daley-Schwab illustrations. Barbara Dennig Sophomore \ear Total 33.0 Martha Erlebacher IL 201 A & B Ed Ferszt Junior/Intermediate Credits Design Foundations Jack Freas Required Courses: 6 hours, once a week Ponder Goembel IL 300 Illustration Methods 6.0 3 credits/semester: fall and spring Al Gold IL 301 Design Methods 3.0 Design is viewed as a process that integrates a Al Gury IL 206 Materials and Techniq ues 3.0 variety of factors common to problem solving James Lakis 302 Figure Utilization 1.5 IL problem definition, research, logic, free as- Ruth Lozner Select one of the following for a total of sociation, and the like — in conjunction with David Noyes 3 credits: 3.0 the appropriate formal visual elements (line, Phyllis Purves-Smith IL 304 Design Groups 3.0 shape, color, proportion, etc.). Problem solu- Barbara Schwarzenbach IL 303 Figure Utilization II 3.0 tions will be made by comparison of options Elaine Sorel Recommended Credit Load: rather than by making single chance solutions. Robert Stein Studio Electives 4.5 In the second semester. Design Foundation Stephen Tarantal Liberal Arts 12.0 will also consider processes (stencils, xerog- William Ternay raphy, printing from relief surfaces) as well as Victor Valla Junior Year Total 33.0 direct drawing and graphic translations. Anthony Visco Credits Sherri Vita Senior/Advane ed Required Courses: IL 400 Illustration 6.0 IL 401 Graphic Problems 3.0 IL 403 Portfolio Seminar 1.5 Recommended Credit Load: Studio Electives 13.5 Liberal Arts 9.0

Senior Year Total 33.0

1<> IL 202 A & B IL 300 A & B IL305 Figure Anatomy Illustration Methods Scientific Illustration 2 hours, once a week (lecture) 6 hours, once a week 3 credits/semester: fall and spring 3 hours, once a week (drawing lab) 3 credits/semester: fall and spring Part of the scientific illustration sequence, 2.5 credits/semester: fall and spring This course deals with the development of nar- requiring prerequisite courses. This course Focus on the investigation and application of rative imagery, pictorial illusion, and space, involves cell biology, vertebrate anatomy, and line, plane, mass, light and shade, shadow, and their combined potential for communica- botany. perspective, anatomy, and proportion as they tion. Procedures focus on developing visual relate to figure drawing. Weekly sessions in- awareness, personal imagery, and conceptual IL 400 A & B clude a lecture, demonstrations from the skele- directions. Direct drawing situations and Illustration ton, and drawing from life. photographic reference (existing or student 6 hours, once a week produced) will also serve as source material 3 credits/semester: fall and spring IL 203 A & B for pictorial development. Various media and Assignments revolve around specific areas of History of Illustration technical procedures will be explored. Assign- illustration —advertising, book, documentary, 1.5 hours, alternate weeks ments and lectures will focus on the require- editorial, and institutional. Emphasis is on 5 credits/semester: fall and spring ments of applied illustration. solutions, both practical and relevant, to pro- A series of lectures highlighting major trends fessional needs and demands. A senior thesis and artists in the field of illustration. The his- IL301 project (ELY) will be incorporated in the spring Design Methods torical context of illustration, as it relates to semester. varying societal factors, will serve as the uni- 6 hours, once a week credits/semester: fall fying thread for this survey. 3 IL401 Further development of the design process in Graphic Problems IL206A conjunction with the requirements and options 6 hours, once a week Materials & Techniques available through photomechanical techniques. 3 credits/semester: fall 3 hours, once a week Projects will deal with image/typography re- Previous design experiences in process and 1.5 credits/semester: fall lationships and will be presented for their in- technique are synthesized and applied to prac- This workshop emphasizes the development of trinsic design interest as well as being useful tical problems. A variety of traditional for- to understand the processes of com- traditional media. Classwork, demonstrations, as vehicles mats—posters, book and record jackets, mercial reproduction. Previous photographic museum visits, and lectures follow the devel- folders, and the like — will be explored. experiences will be opment of ink drawing, egg-tempera painting, and indirect image-making continued and built on at this level. and oil painting as they were practiced around IL402 the time of the Renaissance. Communications Workshop IL302 6—12 hours, once a week IL 206 B Figure Utilization I 3 or 6 credits/semester: fall and spring Materials & Techniques 3 hours, once a week Structured as an actual studio, the workshop 3 hours, once a week 1.5 credits/semester: fall will produce visual material for a variety of

1.5 credits/semester: spring Work from life is combined with work from a clients. Some of the projects will be assigned This workshop emphasizes the varied tech- wide range of resources. Composing figures in by the instructor; however, workshop members niques of our times. Classwork, demonstra- rational space with a convincing relationship will be encouraged to solicit additional pro- tions, gallery visits, and lectures explore to the environment is stressed. Drawing and jects. Admission to the workshop will be by contemporary approaches to watercolor, painting media will be examined. History of portfolio review with a maximum of sixteen collage, airbrush, and pastel. poses, contexts, and pictorial conventions will participants to be selected. be discussed. IL208 IL403 Letterforms (general elective) IL303 Portfolio Seminar 3 hours, once a week Figure Utilization II 3 hours, once a week 1.5 credits/semester: fall and spring 6 hours, once a week 1.5 credits/semester: fall spring Investigation of classical and modern letter- 3 credits/semester: This course is involved with: identification of forms with emphasis on contemporary applica- Studies of the figure in narrative contexts will personal style, personal and professional pre- tions, i.e., logotypes, posters, and a variety of be explored, as will work from single and sentation (portfolio, letterhead, cards), and design formats. Comprehensive as well as grouped models, nude and costumed. Concen- techniques of promotion. It also addresses the finished rendering covered. tration will be on developing compositions and establishment of long-term professional re- concepts from different and often combined lationships, procrastination, and fear of IL209 resources. Drawing and painting techniques Water-Based Illustration Media will be utilized. 3 hours, once a week 999 Independent Study 1.5 credits/semester: fall and spring IL304 3—6 hours 1.5-3 credits/semester: fall-spring Investigations of opaque and transparent water- Design— Sequential Format 6 hours, once a week with a based media and their applications in the il- An independent course of study dealing credits/semester: spring lustration field. 3 particular issue of interest to the student and a Course focuses on sequential formats. Potential faculty member. Prior approval by the chair- areas of inquiry include brochures, direct-mail person required. pieces, simple animations, slide presentations, multi-page spreads and identity programs.

20 Industrial Design

Industrial Design is a relatively young profes- sion but its practitioners have had a major im- pact on a number of aspects of our lives. They have affected the form and function of furni- ture, appliances, packaging, transportation and interior design. The Industrial Design Departments integrated program teaches the technical and communica- tions skills necessary for practice as a design professional. Initial coursework develops skills and introduces the student to design and pro- duction processes. In advanced study, the re- lationship between people, cost, convenience, utility, safety, production, and aesthetics are clarified and applied to the design process.

Because today's designers must interact with marketing and management personnel, effec- tive communications skills are stressed. Visit- ing guest designers augment the studio and lecture courses, helping students explore cur- rent and future dseign options. The graduating industrial designer has exciting career opportunities with consulting firms, cor- porate design staffs, and educational and re- Industrial Design search organizations, as well as a growing Credit Requirements number of design-conscious government agencies. Sophomore/Introductory Credits ID 201 Required Courses: Conceptual Drawing Faculty ID 210 Processes 6.0 3 hours, once a week Noel Mayo, Chairperson fall and spring ID 211 Visual Langiage 6.0 1.5 credits/semester: Jack Andrews ID 213 Design Methods 6.0 A drawing class concerned with the processes Virginia Gehshan one's head onto paper. Recommended Credit Load: of getting ideas from Howard Greenberg with the design, craft. Studio Electives The course is structured Abraham Leibson in mind those who CR 251 Mold Making/Casti; or illustration student — Michael Leonard dimensional forms on Liberal Arts 12.0 would wish to explore Jeffrey Leonard paper before transferring them to a permanent Julian Winston Sophomore Year Total 33.0 material. A one-semester course. Peter Wood Peggy Turner Zablotny Junior/Intermediate Credits ID 210 Steven M. Zablotny Required Courses: Processes 301 Design Seminar 3.0 ID 6 hours, once a week ID 310 Design Studio 6.0 3 credits/semester: fall and spring ID 311 Graphic Design 3.0 The exploration and study of the "hard" and ID 312 Exhibit Design 3.0 "soft" information processes that are used by ended Credit Load: Recomm designers. Various problem-solving techniques Studio Electives 6.0 are introduced and implemented. Emphasis is Liberal Arts 12.0 placed on the written word as a method of com- Junior Year Total 33.0 munication. Several short research papers are

required. The student is given a grounding in Senior/Advanced Credits basic technology and science, including wood, Required Courses: metal and plastic technology, optics, ID 401 Industrial Design Seminar 3.0 mechanics, basic electronics, and energy

ID 410 Studio I 6.0 systems. ID 411 Portfolio Preparation 3.0 Recommended Credit Load: Studio Electives 12.0 Liberal Arts 9J) Senior Year Total 33.0

21 ID 211 ID 311 Visual Languages Graphic Design 6 hours, once a week 3 hours, once a week 3 credits/semester: fall and spring 1.5 credits/semester: fall and spring

The study and application of the language and An intensive workshop in the structuring of visual systems that are used by designers to visual and typographic information as they deal with the concerns and problems among relate to the industrial designer. Clear ap- people, technology, and the environment. Two- proaches are explored on the application of and three-dimensional concepts are combined this information to products, packaging, sta- with form, drawing, and graphic skills while tionery, etc. studying methods of practical application. ID 312 ID 213 Exhibit Design Design Methods 3 hours, once a week 6 hours, once a week 1.5 credits/semester: fall and spring

3 credits/semester: spring and fall The exploration of the exhibit design process; A course combining the teaching of the "tools" the collection of information, planning, traffic of designer mechanical drawing, perspective flow, display, and communication techniques. drawing, basic shop techniques, and model Exhibit design requires the extensive use of making. Field trips are taken to industrial all the designer's skills. manufacturers to acquaint the students with advanced production methods. ID 401 Industrial Design Seminar ID 301 3 hours, once a week Design Seminar 1.5 credits/semester: fall and spring

3 hours, once a week A forum for the discussion and study of current 1.5 credits/semester: fall and spring ideas within the design field. Presentations are A forum for the discussion and study of current made by the staff and guest speakers. The ideas within the design field. Presentations are course requires a term paper concerned with made by the staff and guest lecturers. the issues considered.

ID 302 ID 402 Visual Techniques Advanced Design Workshop 3 hours, once a week 3 hours, once a week

1.5 credits/semester: fall and spring 1.5 credits/semester: fall and spring

The first semester is used to develop profi- A workshop where each student deals with ciency in the use of Lawson Charts as a means problems of an advanced nature of his/her own of making measured drawings. The second choosing. semester is devoted to developing effective drawing techniques for precise descriptions ID 410 of surface, color, and material using pastels, Studio I markers, prismacolor, and other designer's 6 hours, once a week materials. 3 credits/semester: fall and spring

Instruction and guidance in the preparation of ID 303 professional stationery, resume, portfolio, and Industrial Materials and Processes slide presentation. 3 hours, once a week 1.5 credits/semester: fall and spring 999 Independent Study Films, lectures, and field trips are used to 3—6 hours familiarize students with industrial fabrication 1.5—3 credits/semester: fall and spring processes for wood, metal, and plastics; tech- An independent course of study dealing with a niques such as die making, injection molding, particular issue of interest to student and one blow molding, laser cutting, explosion forming, or more faculty. Prior approval by the chair- etc., are explored. Emphasis is placed on the person required. study of material characteristics and their ap- propriate use with forming methods.

ID 310 Design Studio 6 hours, once a week

3 credits/semester: fall and spring

A study of design methodology related to de- signing for mass production. Most projects are conducted with the help of consultants from industry. Problems are given in product de- sign, packaging, exhibition design, and trans- portation design.

22 Painting and Drawing

The aim of the program is to provide a profes- sional level of involvement in painting and drawing. A balance is sought between the ac- quisition of studio skills and the development of a critical intelligence. Students are encouraged, through the rigor of studio activity, to understand the breadth of art in both its traditional and contemporary forms, and to gain increasing authority in their own work. Courses evolve from the study of basic working methods and fundamental issues of image- making to the subtleties of complex pictorial organization and the refinements of aesthetic judgment. In the final semester of the senior year, each student is required to complete a thesis project, which includes a formal presen- tation of a paper and an exhibition of a coordi- nated body of work.

The faculty of practicing professional artists represents a diversity of attitudes and ideals. Through the format of studio instruction, dialogue, and critique, they seek to instill in each student a habit of self-instruction which will serve far beyond the program at PCA.

Studio activity is augmented by lectures, semi- nars, visiting artists, and field trips to mu- seums and galleries.

Faculty David Kettner, Co-Chairperson Boris Ritterman, Co-Chairperson Eugene Baguskas Morris Berd Cynthia Carlson Larry Day Steven Jaffe Robert Keyser Nathan Knobler Robert McGovem Edith Neff Painting and Drawing Gerald Nichols Credit Requirements Jane Piper Warren Rohrer Sophomore/Introductory Credits Junior/Intermediate Credits Doris Staffel Required Courses: Required Courses: Lily Yeh PT 202 Sophomore Painting 7.5 PT 302 Junior Studio 13.5 DR 202 Sophomore Drawing 6.0 PT 359 Junior Seminar 1.5 PT 290 Sophomore Seminar 1.5 Recommended Credit Load: Recommended Credit Load: Liberal Arts 12.0 Liberal Arts 12.0 Studio Electives 6.0 Studio Electives 6.0 Junior Year Total 33.0 Sophomore Year Total 33.0 Senior/Advanced Credits Required Courses: PT 402 Senior Studio 13.5 PT409 Senior Seminar 1.5 Recommended Credit Load: Liberal Arts 9.0 Studio Electives 9.0

Senior Year Total 33.0

23 —

FT 202 FT 235* FT 302 Sophomore Painting Figure Painting and Drawing Junior Studio 9 hours a week 6 hours, once a week 15 hours a week credits/semester: fall 4.5 credits/semester: fall 3 credits/semester: fall or spring 7. 5 12 hours a week 6 hours a week The course is based upon the premise that 6 credits/semester: spring 3 credits/semester: spring figurative art is classifiably different from non- develops a professional Studio work will treat the various rudimentary figurative art and that there exist kinds of infor- Studio activity which including ad- elements of painting—form, color, composi- mation, procedures, and attitudes that might working routine in the student, the genre. Various vanced study of the conceptual and structural tion, and technique— through life-study and broaden, intensify, and alter painting drawing. Students project assignments emphasizing conceptual sources will be drawn upon including live mod- frameworks of and to show increasing personal effort and pictorial imagination. els, photographs, and paintings from the past will be encouraged and present. initiative and direction. Balance will be sought between the structural and technical aspects of painting and the inter- Regular critiques on both an individual and FT 236* student to the pretations of meaning. Periodic formal group basis will connect the Figure Composition stimulate critiques and museum and gallery visits will values of the past and the present, 3 hours, once a week questions of our time, supplement studio activity. interest in the major 1.5 credits/semester: fall or spring and provide resources for technical progress.

FT 211* A course that explores the preparatory organi- Visiting artists will be invited to participate Painting Studio zation of figure painting with emphasis on the through lectures and studio critiques. 6 hours, once a week use of sources such as studies, figure drawings, to create a 3 credits/semester: fall or spring photographs, and reproductions FT 318* final work. The working methods of various Studies of the still life, live model, landscape. Painting: New Formats masters will be studied. Criteria will emphasize experimental modes of 6 hours, once a week paint application and structure, the control of 3 credits/semester: fall or spring FT 237* color, and composition. Students will be ex- A studio class that explores the act of painting Contemporary Issues pected to assume a creative, inventive, and in formats other than the traditional rectangle. Representational Painting dramatic approach to working. Through assignments and personal initiative, 6 hours, once a week students will investigate shaped canvases, 3 credits/semester: fall or spring PT221* painting on three-dimensional surfaces, and addressing contemporary at- Color Studies A studio course site-specific structures. 6 hours, once a week titudes toward representational modes of paint- ing. Why do figurative paintings today look 3 credits/semester: fall or spring FT 359 the way they do? What are the sources, the Studio work and independent projects will con- Junior Seminar premises, and the processes which have gener- sider the purposes and effects of color organi- 2 hours, once a week ated the styles that have emerged since 1945? zation, color perception, and color theory. 1.5 credits/semester: spring Color will be approached as emotive, symbolic, FT 238* A lecture course on the nature and effect of depictive, and structural. art. is placed Abstract Painting various theories of Emphasis upon the meaning, the imperatives, and the FT 231* 6 hours, once a week choices that are significant in shaping the Multi-Media 3 credits/semester: fall or spring course of individual works and generic move- 6 hours, once a week Two approaches will be considered—abstrac- ments in the history of painting. 3 credits/semester: fall or spring tion as pictorial structure that interprets the concrete world non-representationally, and The development of artworks that are realized abstraction as pictorial structure that graphi- through the combination of diverse materials presents ideas and emotions that have and media. cally their genesis in other than observed reality. FT 233* Studio assignments will investigate concepts, Examples from tradi- Landscape Painting sources, and procedures. tional and contemporary art will be used. 6 hours, once a week 3 credits/semester: fall or spring FT 290 the traditional subjects of the land- Painting Sophomore Seminar scape: land, city and country, water and sky, 2 hours, once a week light and air. An examination of how these sub- 1.5 credits/semester: spring jects can be seen and interpreted. A lecture and discussion format that explores the question of subject matter and meaning in painting and drawing through the study of con- temporary and historical models.

24 PT402 DR202 DR 259* Senior Painting Sophomore Drawing Collage 12 hours a week 3 hours, twice a week 3 hours, once a week 6 credits/semester: fall 3 credits/semester: fall and spring 1.5 credits/semester: fall or spring

15 hours a week A development of practical and analytical Projects will explore pictorial conventions 7.5 credits/semester: spring skills in handling both traditional and contem- through the use of material collected and as- Critical commentary will center on four areas porary drawing materials and procedures. sembled by the student and developed as ele- of concern: Methods involving life observation, pictorial ments of composition. Attention will be given 1. The character of the work — its formal prop- invention, and speculative thought will be ap- to the history of collage and its influence upon erties, its physical properties, aspects of plied to the process of articulating space, form, the methods and meanings of painting. intelligibility. and light. 2. Intentionality— investigation of motives DR 270-275* and choices. DR 209* Drawing Workshops 3. Context —ways that a work relates to a Watercolor 3 hours, once a week

larger body of work, both generic and 3 hours, once a week 1.5 credits/semester: fall or spring

stylistic. 1.5 credits/semester: fall or spring A series of studio courses that isolate and focus 4. Quality approaches to questions of value. — A course in which the preferred medium is on pictorial elements such as line and shape, There will be individual crits each week and transparent watercolor, the particular charac- edge and tonality, pattern and texture, etc. periodic group crits involving the participation teristics of which will be explored. Both per- Through assigned projects and self-initiated of visiting artists. ceptual and non-perceptual approaches will works, students will be directed to increase be introduced. their authority in using these elements PT409 expressively. Senior Seminar DR 213* 2 hours, once a week Mixed-Media Drawing DR 307* 1.5 credits/semester: fall 3 hours, once a week Anatomy and the Figure Dialogue concerned with the study of relation- 1.5 credits/semester: fall or spring 3 hours, once a week ships between content structure in picto- and A diversity of drawing and watercolor materials 1.5 credits/semester: fall or spring rial art. Key works of art and art criticism, and techniques will be explored, discovered, A study of the skeletal and muscular structure both contemporary and historic. Eastern and and invented in order to develop a versatile of the human figure as it affects its proportions. Western, will be presented and discussed in a repertoire of drawing skills. solidity, action, and surface form. seminar format with emphasis on student participation. DR 223* DR 322* Figure Drawing Advanced Drawing 3 hours, once a week 3 hours, once a week

1.5 credits/semester: fall or spring 1.5 credits/semester: fall and/or spring

Principles of figure drawing, including propor- General studio and individual sketchbook ap-

tion, motion, form, and structure, with some proaches to advanced drawing, taught in its anatomy, light and shade, detail, and costume four basic modes—depictive, non-referential, study. metaphorical, and speculative.

DR 245* DR 323* Figure Drawing and Modeling Drawing and Relief Print Methods 6 hours, once a week 6 hours, once a week

3 credits/semester: fall or spring 3 credits/semester: fall and spring

This course is based on the concept that draw- A studio course that develops practice, expres- ing and modeling are mutually supportive. sion and growth in drawing through the use of Students draw from the model using a variety new tools and image changes required to ac- of materials and approaches. They model in tualize drawn ideas in linoleum cuts, wood clay. Emphasis is placed on the exploration of cuts, and wood engravings. intentions and concepts, and the development of visual perception.

DR 246* Drawing Studio Elective Course Offerings 6 hours, once a week (Courses marked * are open to all majors and

3 credits/semester: fall or spring non-majors)

Studio projects exposing the student to the various attitudes and uses of drawing. A more sustained involvement in drawing as a signifi- cant mode of materializing ideas and feelings.

25 Photography/filmAiiimation

The Photography/Film/Animation Department offers major concentrations in each of these disciplines while providing elective classes to the College at large. The three-year curriculum of each major is built around a sequence of classes designed to move the student to a posi- tion of independence within the discipline. An introduction to the intrinsic conceptual and

material concerns of the medium fills much of the sophomore year. Within the two remaining vears. the student is expected to develop and expand a sense of personal vision, practice, and goals.

Within the first semester of the sophomore

year, each student is required to take both still photography and filmmaking. Separate pro- grams of studies within each discipline com- mence with the second semester of that year, although work in the other areas may be con- tinued on an elective basis.

The still photography major, in the sophomore year, gets a solid background in craft compe- tence and the conceptual concerns of photo- graphic rendering. Distortion of both process An internship program, which places advanced Animation brings together a wide variety of and effect is also considered, as is the use and students within a variety of positions in the interests and skills. While the final presenta- control of traditional color-print materials. "real world" one day each week, is also avail- tion utilizes the technology of filmmaking, the The junior year asks the student to consider able. Current positions include assistantships visual materials being animated may be gener- photographic forms beyond the traditional in commercial studios, galleries, medical labo- ated through such diverse disciplines as paint- print —the photographic book, non-silver pro- ratories, hospitals, and multi-image and ing and drawing, sculpture, illustration, cesses, and the extended photograph, among special-effects houses. graphic arts, and still photography. The ani- others while also providing instruction in the instruction in both tra- — The independent filmmaker serves as the mation program offers practice of large-format photography and studio ditional and experimental approaches to the model for our program in both live-action film practice with its control of artificial lighting. is geared to providing a founda- and animation. At the same time, a solid medium and In both the junior and senior years, the student tion broad enough for either personal explora- preparation and foundation in film craft has may also pursue the study of specialized issues career. enabled an extremely high percentage of our tions or a professional on an elective basis, including the photograph graduates to enter the professional field as free- In addition to the traditional major, animation in a graphic arts context, documentary photog- lance editors, sound recordists, cinematog- also provides the opportunity for students to raphy, multi-image production, and the photo- raphers, technicians, animators, screenwriters, pursue a concentration in animation while graph within a larger fine arts context. and directors. studying in other major departments. Students The senior year largely concerns the produc- considering a concentration in animation The filmmaking area provides its students with tion of an independent body of work of the stu- should consult with the film program adviser a background in all phases of film production, dent's own choosing and direction. It is the well as with their own department chair- including film cinematography, editing, sound, as department's hope that issues of self-disci- person for assistance in arranging appropriate and special effects. As in the still area, the pline, critical thought and practice, and solid schedules. filmmaking students acquire a strong back- course sequencing and working habits both conceptual and in the — ground in criticism, theory, and history of film. area of craft —become thoroughly internalized Faculty Film study at PCA is supplemented by a num- by graduation. The senior thesis provides the Ron Walker. Chairperson ber of other activities and resources, including self-defini- opportunity to begin the process of John J. Carlano Mediaworks, a year-long series of visiting art- tion as photographers and artists. Charles Cohen ists. Under this program, filmmakers, A senior-level course in photographic criti- John Columbus animators, video artists, and performance art- cism, which seeks to instill solid critical Stephen Fiorella ists of both national and international reputa- thought and practice within the student, is re- Alida Fish tion visit the campus for lectures, screenings, quired. This course caps the efforts made Gerald Greenfield and performances. Our facilities are currently throughout the program to place the practice Charles Hagen undergoing expansion, and we hope to be able of photography on solid intellectual under- Alfred J. Ignarri to offer basic video as an adjunct to the pro- pinnings. The course, coupled with the re- Sandra Moore gram in the near future. In addition, the Col- quired history of photography, provides a Jean Pearce lege possesses an audiovisual department with context for understanding and discussing one's Dennis Pies its own film library, a computer center, and a own and others' photographs. In addition, there Peter Rose Friday night film series. is an elective senior-level studio course de- Peter Sasgen signed to further pursue issues of professional David Tafler commercial practices.

26 Photography Major Credit Requirements

Sophomore/Introductory c redits PF 211 A PF 313 A & B Introduction to Photography I Basic Studio Required'. Courses: 6 hours, once a week 6 hours, once a week PF210 Introduction to fall and spring Filmmaking 3.0 3 credits/semester: fall 3 credits/semester: PF211 Introduction to Introduction to basic concepts, processes, and Introduction to studio techniques, use of the 4" 5" Photography I, II 6.0 techniques of black-and-white photography, x camera, and artificial lighting.

PF215 Photo Materials I 1.5 including camera operation, exposure, dark- Prerequisite: PF 211 A & B. PF217 Color Printing Works hop 3.0 room procedures, lighting, and their controlled is upon the normative PF 315 Recommended Credit Load: applications. Emphasis Required Photo Materials II Studio Electives 7.5 standard of photographic rendering. 3 hours, once a week Liberal Arts 12.0 for admission to photography courses above 1.5 credits/semester: fall Photo History 6.0 PF 211. Other 6.0_ A continuation of technical studies initiated in PF 211 B PF 215. Sophomore Year Tota1 33.0 Introduction to Photography II 6 hours, once a week PF318 Junior/Intermediate Credits 3 credits/semester: spring Interacting Images Required Courses: While consolidating the student's control of 6 hours, once a week PF311 Intermediate Workshop 6.0 the medium, this course introduces the student 3 credits/semester: spring PF313 Basic Studio 6.0 to a departure from normative photographic A study of how meaning is affected by the or- PF 315 Photo Materials II 1.5 rendering, techniques, and modes of expres- dering of discrete images. Sequences are pro- Select 3 credits from the following sion and form. grammed for slide projection. courses: 3.0 Prerequisite: PF 211 A. PF 318 Multi-Image PF215 Production 3.0 Photo Materials I PF319 PF 319 Large Format 3 hours, once a week Large Format Photography Photography 3.0 1.5 credits/semester: spring 3 hours, once a week PF323 Selected Topics 3.0 A course acquainting students with both tradi- 3 credits/semester: fall and spring PF499 Practicum 3.0 tional and less traditional black-and-white ma- Production course using the 4" x 5" or 8" x 10" Recommended Credit Load: terials through experimentation with films, view camera directed toward a mastery of the Studio Electives 7.5 papers, chemistry, and techniques. Linkages basic techniques and an understanding of the Liberal Arts 9.0 between photography and other media such as potentials of large-format photography. Em- Junior Year Total 33.0 non-silver and graphic arts processes are phasis is placed on the use of the view camera explored. outside of the studio. Credits Senior/Advanced Prerequisite: PF 211 A. Required Courses: PF217 PF411 Advanced Photography 6.0 Color Printing Workshop PF323 PF 415 Criticism Seminar 6.0 6 hours, once a week Selected Topics credits/semester: spring Select 3 credits from the following 3 6 hours, once a week courses: Introduction to traditional methods of color 3 credits/semester: fall or spring PF323 Selected Topics 3.0 printing leading to an exploration of the tech- Study of one or more various media, methods,

PF 413 Professional Practices 3.0 nical and creative possibilities of color in or problems in still photography to be offered PF 499 Practicum 3.0 photography. according to the instructor's interests and stu- Recommended Credit Load: Prerequisite: PF 211 A dents' requests. Studio Electives Prerequisites: may vary with topic. Liberal Arts PF 311 A & B Intermediate Workshop PF 411 A & B Senior Year Total 6 hours, once a week Advanced Photography 3 credits/semester: fall and spring 6 hours, once a week Exploration of photographic imagery through a 3 credits/semester: fall and spring series of problems aimed at personal vision Continuation of Junior Workshop; work on and creative growth. long-term individual project or shorter-term Prerequisite: PF 211 A & B, PF 215. problems to develop technical, aesthetic, and conceptual mastery of the medium. Prerequisite: 6 credits in Photography includ- ing PF 311.

27 film Major Credit Requirements

PF415A&B Sophomore/Introductory Credits PF 310 A & B Critici§m Seminar Required Courses: Cinematography and Production

3 hours, once a week PF 210 Introduction to Workshop 3 credits/semester: fall and spring Filmmaking I, II 6.0 6 hours a week An analysis of contemporary criticism intended PF211 Introduction to 3 credits/semester: fall and spring

for both film and photography students. Exten- Photography I 3.0 Production techniques in actual filming situa-

sive reading and some writing with attention to PF212 Animation Drawing I 3.0 tions: starting from the script through budget- current showings and exhibitions is required. PF218 Creative Sound 3.0 ing, script breakdown, camera work, and edit- Recommended Credit Load: ing, to the finished release print. Students are PF499 Studio Electives 6.0 expected to execute specific assignments in Practicum Liberal Arts 12.0 lighting, editing, and sound, and are intro- 3—6 hours, arranged Art/Film History 6.0 duced to synch-sound procedures. 1.5—3 credits/semester: fall and spring Other 6.0 Prerequisite: PF 210 A & B An apprentice or intemlike program in which Sophomore Year Total 33.0 the student is placed in one of several profes- PF 314 A & B Film Form sional photographic situations. Placements Junior/Intermediate Credits include assisting in professional studios, prac- 3 hours, once a week Required Courses: tice in biomedical photography laboratories, 3 credits/semester: fall and spring PF 310 Cinematography and and curatorial positions in galleries, among A study of the aesthetics of cinema through an Production Workshop 6.0 others. examination of the elements of film language PF314 Film Form 6.0 and film as a visual art. Specifically, the course PF320 Film Sound 3.0 PF999 is a theoretical and practical inquiry into PF322 Film Technology 3.0 the Independent Project ways in which visual and aural elements are Recommended Credit Load: 2-6 hours, arranged used to explore and produce artistic meaning, Studio Electives 6.0 1—3 credits/semester: fall and spring along with an examination of the relationship Liberal Arts 12.0 Prerequisite: Major with PF 211 B. between film and the other visual arts. Art/Film History 6.0 Other 6.0 PF 413 A & B PF320 Junior Year Total 36.0 Professional Practices Film Sound 6 hours, once a week 6 hours, once a week Senior/Advanced Credits 3 credits/semester: fall and spring 3 credits/semester: fall Required Courses: Study of the practice of professional photog- Introduction to the application of sound in film PF 410 Advanced Cinematography raphy, with attention to various career oppor- with instruction and practice in the use of and Production Workshop 6.0 tunities, portfolio presentation, business sound-recording equipment, mixers, sound PF414 Filmmaking Seminar 3.0 practices, professional ethics, photographic transfer, editing, general techniques, and an PF415 Criticism Seminar 3.0 law, and personal objectives. A variety of pro- introduction to the ARP 2600 electronic fessional guests visit the course. Recommended Credit Load: synthesizer. Prerequisite: PF 313 Studio Electives 6.0 Prerequisite: PF 210 B or PF 212 B Liberal Arts 12.0

Senior Year Total 30.0 PF322 Film Technology PF 210 A 6 hours, once a week 3 credits/semester: spring Introduction to Filmmaking I 6 hours, once a week An examination of some of the technical mate-

3 credits/semester: fall rials and procedures that complement the filmmaker's production skills: basic elec- An introduction to the mechanics and tech- tronics, optical printing, editing procedures, niques of silent filmmaking. Principles of and mechanical skills. Projects in image/sound shooting and composition, lighting, the logic relationships and alternative screening formats of arrangement, and editing are explored. In are undertaken. addition to critique of student work, selected Prerequisite: PF 210 B or PF 212 screenings of outside work of historical and B critical significance form an important aspect of the course.

PF 210 B Introduction to Filmmaking II 6 hours, once a week 3 credits/semester: spring

A continuation of PF 210 A with emphasis on more experimental modes: image and time manipulations, multiple projections, and an

introduction to sound concepts and techniques. Prerequisite: 210 A

28 Animation Major Credit Requirements

PF 410 A & B Sophomore/Introductory Credits PF 312 A & B Advanced Cinematography and Required Courses: Advanced Animation Workshop hours, once a week Production Workshop PF 210 Introduction to 6 3 credits/semester: fall and spring 6 hours a week Filmmaking I, II 6.0 3 credits/semester: fall and spring PF211 Introduction to Emphasis within the course is placed upon the of Continuation of PF 310. Increased indepen- Photography I 3.0 development of keen observation movement

II phenomena motion in three dimensions, dence is required of senior majors. PF 212 Animation Drawing I, 6.0 — movement, phrasing Prerequisite: PF 310 B, PF 320, PF 322 Recommended Credit Load: complex and compound timing and the Studio Electives 6.0 of movement, and issues of — observations into PF414 Liberal Arts 12.0 ability to translate these skills and tech- Film Forum Art/Film History 6.0 sequential drawings. Various ani- 3 hours, once a week Other 6.0 niques are introduced, including table-top spring mation techniques, pixillation, track reading 3 credits/semester: Sophomore Year Total 33.0 for animation, and rotoscopic methods. Special Selected topics dealing with specific issues in attention is placed upon the integration of film history, theory, and analysis. Junior/Intermediate C redits these skills and investigations toward the reali- Required Courses: zation of a short personal animated film. PF 312 CEL Animation 0.(1 3.0 PF 320 Film Sound PF 412 A & B PF 322 Film Technology 3.0 Advanced Animation 314 Film Form 6.0 PF 6 hours, once a week Credit Load: Recommended Directed independent production of a short Studio Electives 6.0 film project in an idiom of the student's 9.0 Liberal Arts choosing. Art/Film History 6.0 Prerequisite: at least six credits in animation: Other 3.0_ instructor's approval. Junior Year Total 33.0 PF416 Senior/Advanced Credits Professional Practice in Animation Required Courses: 3 hours, once a week PF 412 Advanced Animation 0.0 1.5 credits/semester: spring PF 415 Criticism Seminar 3.0 Instruction and guidance on entering the PF414 Filmmaking Seminar 3.0 profession of animation, including visits to Recommended Credit Load: professional studios; discussion of business Studio Electives 9.0 practices, budgeting, preparation, and use of Liberal Arts 12.0 a sample reel; and strategies for collaboration acting, camera, and other Senior Year Total 33.0 with sound, music, professionals in producing as an independent animator. PF 212 A Prerequisite: PF 412 A Animation Drawing I 6 hours, once a week PF316 3 credits/semester: fall History of Animation Through a series of specific lessons centered 3 hours, once a week around drawing from the moving human figure, 3 credits/semester: spring, alternate years the student is introduced to the kinesthetic A lecture survey of animated film from its sense—a sense of motion, time, and space. origins in such pioneers as Emile Cole and Special emphasis is placed upon the student's Winsor McCay to the work of contemporary- development of responsibility for the dramatic experimentalists. Readings supplement an aspects of timing. Films are also viewed to extensive list of screenings to be studied. enhance the extensive drawing practice done

Photography/Film/Animation 999 Independent Study PF 212 B 3—6 hours Animation Drawing II 1.5—3 credits/semester: fall— spring 6 hours, once a week dealing with a 3 credits/semester: spring An independent course of study particular issue of interest to student and one While continuing with issues of animation or more faculty. Prior approval by the chair- drawing from the fall semester, emphasis is person required. placed upon the development of a sense of dramatic film structure, specifically centered around the issue of pacing. This concern is developed through both individual and class projects. Films are once again screened in each class to enhance practice.

29 Printmaking

The Printmaking Department bases its instruc- tional program on the development and realiza- tion of individual visual ideas through multiple image-making processes. The primary objec- tives are to develop conceptual abilities and

technical proficiencies leading the student to acquire personal imagery and professional A competence in printmaking media.

The department provides extensive facilities and the expertise of a faculty of professional artists for study in traditional and contempo- rary methods. The major graphic media ex- plored include relief processes, etching (in- taglio), lithography— stone, metal plate and offset —and screenprinting. Courses in book and typographic design stimulate experimenta- tion in unifying the elements of paper, prints,

typography, and bookbinding. Visiting artists, field trips, and guest lecturers supplement the studio experience.

Using the city as an extended workshop, print students attend seminars and museum collec-

tions. The Print Study Seminar is held in the Print Room at the Philadelphia Museum of Art and furnishes a unique opportunity to study original prints from the fifteenth through the twentieth centuries.

The main emphasis over the three-year period

of study is on the evolution of students as art- ists who make individualized demands upon the media. As with any study in the fine arts, the experience should be multi-dimensional, reflective of a broad range of personal and pro- fessional involvement, and reinforced with stimulation from related areas of interest, in- cluding drawing, painting, photography, graphic design, illustration, sculpture, and crafts.

Department graduates find career opportunities in the areas of fine arts, education, book de- sign and binding, commercial graphic arts, illustration, and edition printing.

Faculty Lois M. Johnson, Chairperson Jerome Kaplan Nathan Knobler Michael Lasuchin Jan Paris Mary Phelan Tony Rosati Franz Spohn Hester Stinnett Sarah Van Keuren

30 Printmaking Credit Requirements

Sophomore/Introductory Credits PR 204 PR 222 Required Courses: Etching Non-Silver Printmaking Proces9e9 PR 204 Etching 3.0 6 hours, once a week 3 or 6 hours, once a week PR 206 Printmaking Workshop 3.0 3 credits/semester: spring 1.5 or 3 credits/semester: fall or spring

PR 202 Screenprinting 3.0 Basic techniques in traditional and contempo- Building images in color with layers of PR 201 Relief Printing 3.0 rary etching, drypoint, aquatint, collagraphy, brushed-on light-sensitive emulsion. Light- PR 205 Concepts I, II 3.0 photoetching, and possible combinations of resists can range from photogram objects to Recommended Credit Load: them are explored. Development of inherent drawings and paintings, to film or paper nega- Studio Electives 6.0 qualities, idiosyncracies, their application in tives. Processes covered are Van Dyke brown, Liberal Arts 12.0 the modern modes of expression, and inter- cyanotype, gum bichromate, and palladium. relationship of all etching methods are Sophomore Year Total 33.0 investigated. PR 223 Junior/Intermediate Credits Book Design I: Bookbinding Methods PR 205 3 hours, once a week Required Courses: Concepts I and II 1.5 credits/semester: fall and spring PR 300 Lithography 3 hours, once a week PR 305 Advanced Relief Printing A workshop class familiarizing the student 1.5 credits/semester: fall and spring PR 306 Print Study Seminar with the characteristics and handling qualities Idea development, visual perception, and the of materials used in various book structures. PR 223 Book Design I organization of experience into compositions PR 307 Book Design II Some of the items covered include pamphlets, related to printmaking. Primary is PR 308 Advanced Lithography concern multi-signature books, clamshell boxes, port- Workshop acquisition of professionalism, applicational folios, accordion structures, and oriental bind- PR 309 Advanced Etching skills, group discussions, and general growth ing. Emphasis will be placed upon both the of critical evaluative abilities. use of conservationally sound materials and Recommended Credit Load: the use of these structures as vehicles for the Studio Electives PR 206 students' creative expression. Liberal Arts Printmaking Workshop Junior Year Total 6 hours, once a week PR 300 3 credits/semester: spring Lithography Senior/Advanced A continuation of the development of skills in 6 hours, once a week Required Courses: all media— relief, intaglio, and screenprint- 3 credits/semester: fall PR 400 Printmaking: ing—by concentration on one or any combina- All of the basic techniques of drawing, image- Advanced Workshop tion of them, including non-printmaking making, and printing skills that are necessary PR 407 Thesis Seminar methods. to produce hand-pulled, black-and-white PR 412 Advanced Screenprinting lithographs from stones or plates will be ex- PR 410 Book Design III PR 211 perienced. PR 420 Thesis Workshop Etching Recommended Credit Load: 3 hours, once a week PR 305 Studio Electives 1.5 credits/semester: fall and spring Advanced Relief Printing Liberal Arts Introduction to the basic methods in etching, 3 hours, once a week Senior Year Total such as drypoint, aquatint, collagraph, and 1.5 credits/semester: fall photoetching. More demanding methods of relief-printing PR 201 will be introduced and cultivated. Wood en- Relief Printing PR 212 graving, engraving on plastic, color printing, 6 hours, once a week Lithography and related traditional and contemporary 3 credits/semester: fall 3 hours, once a week methods will be pursued. Special emphasis Basic relief-printing methods, including 1.5 credits/semester: fall and spring will be on the relief-printing methods' affinity linoleum cut, woodcut, metal relief, cardboard Lithographic drawing and printing methods and compatibility to many other methods, par- cut, collagraph assemblages, embossment, are introduced and investigated in this auto- ticularly intaglio and hand-set type. and related techniques will be introduced and graphic medium. Students are encouraged to explored. develop their own ideas through this medium PR 306

and explore it with regard to their major field. Print Study Seminar I and II PR 202 3 hours, alternate weeks Screenprinting PR 213 1.5 credits/semester: fall and spring 6 hours, once a week Screenprinting Study and discussion of original prints and 3 credits/semester: fall 3 hours, once a week rare books from masters of the fifteenth through 1.5 credits/semester: fall spring Introduction and investigation of all basic and the twentieth centuries; studio research into methods of serigraphy: paper stencil, resist, Basic stencil methods, such as paper, film, various print processes that parallel the course. photosensitive emulsion, with emphasis on direct photosensitive emulsion, and resist, are acquisition of visual expression and technical developed through individual imagery. skills in the silk-screen media.

31 PR 307 PR 407 Book Design II: Letterpress Thesis Seminar I and II 3 hours, once a week 3 hours, once a week

1.5 credits/semester: spring 1.5 credits/semester: fall and spring

Introduces the basic organization of typo- Acquisition of a professional profile: portfolio graphic elements through hand composition preparation, resume, slides, exhibition partici- (metal type) and letterpress printing. Study pation, discussions of works in progress. The involves the analysis and development of the pre-graduation presentation of portfolio and printed page by combining type and images. the one-person show as well as cultivation of awareness of contemporary conditions and PR 308 practices in the field are among the primary Advanced Lithography Workshop concerns of this class. 3 or 6 hours, once a week 1.5 or 3 credits/semester: spring PR 410

Further investigation and development of Book Design III: Artists Books lithographic image making, including photo- 3 hours, once a week graphic techniques and multiple-color print- 1. 5 credits/semester: fall

ing. Editioned prints of greater scope and The course offers experience in forming ideas complexity are undertaken consistent with the for combination of paper and printed surfaces student's interest and experience. in book organization. The challenge of joining

printmaking, typography, and binding is ex- PR 309 plored on an individual and experimental Advanced Etching basis. 3 hours, once a week 1.5 credits/semester: spring PR 412

Introduction of more advanced technology in Advanced Screenprinting etching than was considered in the previous 3 hours, once a week semester— mezzotint, engraving, blend, and 1.5 credits/semester: fall viscosity printing, as well as their interrelation- Continued investigations of this versatile me- ships and compatibilities; acquisition of nec- dium on an advanced technical and image essary professional skills in handling these level, including printing on three-dimensional concerns: development of perceptual and vi- forms, decals, with emphasis on integration sual applications of the peculiarly etching- of idea and process. related abilities to one's image-making. PR 420

PR 326 Printmaking: Thesis Workshop I and II Offset Lithography 6 hours, twice a week 3 or 6 hours, once a week 6 credits/semester: spring 1.5 or 3 credits/semester: fall or spring Preparation of a series of prints and related Development of skills in printing with offset drawings for portfolio and exhibition press lithography for personal imagery in both presentation. hand-drawn and photographic methods. PR 421 PR 400 Contract Editioning Printmaking: Advanced Workshop I 3 or 6 hours, once a week 6 hours, once a week 1.5 or 3 credits/semester: on tutorial basis

3 credits/semester: fall Involvement in the technology and experience Students continue to develop their own style, of printing limited editions for other artists in ideas, and technique while establishing their the printed media. Discussions of contracts

direction, personal and original expression. and hands-on experience with visits to The workshop atmosphere permits a comfort- workshops. able handling of all procedures and problems in all printmaking processes and possible in- 999 Independent Study volvement with adjacent expressive means, 3—6 hours such as drawing, painting, sculpture, photog- 1.5—3 credits/semester: fall—spring raphy, crafts, etc. An independent course of study dealing with a particular issue of interest to student and one or more faculty. Prior approval by the chair- person required.

32 Sculpture

Sculpture reflects one of the deepest creative impulses of artistic endeavor. The Sculpture Department offers instruction and experience in both the traditional and the most innovative

aspects of the art. Resources are available for work in clay, wood, stone, ferrous and non- ferrous metals, plaster, wax, and plastic.

The department's instructional aim is to pro- vide a sound, balanced exposure to the formal technical and intellectual aspects of sculpture in preparation for continued professional growth beyond the undergraduate years.

At the introductory level, fundamentals of sculpture are taught along with technical pro- cedures in a variety of materials. At advanced levels, students may specialize and are in- creasingly expected to initiate and complete works reflecting their own artistic interests.

Studio equipment is complete including a power system and air tools for sophisticated Sculpture carving, metal finishing, and pellet blasting. Technical assistance and supervision in the Credit Requirements

facilities is provided by a full-time shop super- Sophomore/Introductory Credits Junior/Intermediate Credits visor who is in charge of maintaining the equipment. Required Courses: Required Courses: Sculpture I* 3.0 SC 301 Sculpture II 3.0 Faculty members are chosen from a variety SC201 Sculpture I* 3.0 SC 302 Sculpture II 3.0 of backgrounds, and field trips to New York, SC202 Molding and Casting SC 321 Carving 1.5 Washington, and neighboring museums serve SC220 A&B* 3.0 SC 421 Metal Studio 1.5 to expand students' visions. SC251 Theories of Structure* 1.5 Choose a minimum of 6 credits Sculptors today are called upon to create im- SC252 Theories of Structure 1.5 from the following courses: ages that range in size from coins to monu- Choose a minimum 6 credits SC 260 Structure of the Figure 6.0 ments. Usually working as independent artists, of the following courses: 6.0 SC 431 Advanced Figure sculptors make objects for exhibition and sale from SC 231 Introduction to Sculpture 10 or work on commission from architects and Figure Modeling* 3.0 SC 432 Advanced Figure planners. SC232 Introduction to Sculpture 3.0 Modeling 3.0 SC 441 Sculpture Project: Faculty Figure SC241 Sculpture Projects: Advanced Studio 3.0 Barry Parker. Chairperson Introductory Studio 3.0 Betsy Bowen Recommended Credit Load: Ann Chahbandour SC242 Sculpture Projects: Studio Electives Introductory Studio 3.0 Harvey Citron Liberal Arts Walter Erlebacher Recommended Credit Load: Junior Year Total Barbara Lekberg Studio Electives 3.0 Thomas Steams Liberal Arts 12.0 Senior/Advanced Credits Petras Vaskvs Sophomore Year Total 33.0 Required Courses: All Sculpture Majors are required to take SC 401 Sculpture III 3.0 one semester of Introduction to Fi gure SC 402 Sculpture III 3.0 Modeling and those courses marked (*) Choose a minimum of 6 credits from the following courses: 6.0 SC 260 Structure of the Figure 6.0 SC 322 Carving 1.5 SC 422 Metal Studio 1.5 SC 431 Advanced Figure Sculpture SC 432 Advanced Figure Sculpture SC 441 Sculpture Projects: Advanced Studio 3.0 SC 442 Sculpture Projects: Advanced Studio Recommended Credit Load: Studio Electives Lilberal Arts

Senior Year Total

33 —

SC 201, SC 202 SC 260 A & B SC 421, SC 422 Sculpture I (Forms, Composition, and Structure of the Figure Metal Studio Methods) 6 hours, once a week 3 hours, once a week 6 hours, once a week 3 credits/semester: fall and spring 1.5 credits/semester: fall and spring 3 credits/semester: fall and spring An anatomic and morphological analysis of Form making in noncast metal sculpture has An introductory studio course on the funda- male and female bodies for artists through a contributed a large share to the history of mentals of sculpture. The approach is through three-dimensional constructional method. Cov- sculpture, particularly in the present, where tactile and visual perception with instruction ered are proportions, anatomic structure, sur- the idiom has become as familiar as carving in both traditional and contemporary- form mak- face topology, morphological variation, and and modeling. Concurrently offering both basic ing in a variety of materials and techniques. the body in movement. This course is directed and advanced technical instruction in welding, Sculptural issues addressed are the recognition toward two-dimensional artists as well as forging, and other ferrous metal techniques, and construction of space and form, axial rela- sculptors, and what is stressed are the means this course is oriented to making sculpture tionships, movements, scale, weight, balance, by which the body's salient features can be with iron or steel. organic and geometric qualities, modularities, recognized from any viewpoint in any pose. Prerequisite: Approval of Department transformations, and symbolic meaning. Chairperson SC 301, SC 302 SC 220 A & B Sculpture II (Attitudes and Strategies) SC 431, SC 432 Molding and Casting 6 hours, once a week Advanced Figure Sculpture 3 hours, once a week 3 credits/semester: fall and spring 6 hours, once a week spring 1.5 credits/semester: fall and spring A studio-criticism course that focuses on the 3 credits/semester: fall and

In the first semester, the course covers pro- issue of artistic strategy as it applies to sculp- For students seriously involved with the figure, cesses and techniques utilizing plaster, rubber, tural creation. Assignments given attempt to this course provides an atelier to continue plastics, clays, and wax for making hard and aid students to recognize their own and alterna- figure modeling on increasingly advanced flexible molds and casting sculpture in durable tive tendencies through projects that are made levels, and a context to help formulate a per- materials. The second semester provides a to reflect attitudes like expressionism, ideal- sonal figurative sculptural idiom. Works are thorough foundation in foundry practices, in- ism, mathematical systems, decoration, sculpted at various scales including life size, cluding wax preparation, investing, pouring naturalism, etc. and independent projects are undertaken in bronze or aluminum, chasing, finishing and Prerequisites: SC 201, SC 202 consultation with the faculty. Critiques involv- patinaing finished metal casts. ing the meaning and sculptural significance of SC 321, SC 322 the works are an integral part of the ongoing SC 231, SC 232 Carving class activity. Introduction to Figure Modeling 3 hours, once a week Prerequisite: SC 231, SC 232 6 hours, once a week 1.5 credits/semester: fall and spring 3 credits/semester: fall and spring This course introduces the student to carving, SC 441, SC 442 Sculpture Projects—Advanced Studio Modeling from life for the beginner, stressing one of the basic methods of forming sculpture. 6 hours, once a week direct observation, eye-hand coordination and Students leam to prepare, maintain, and use 3 credits/semester: fall and spring depth discrimination. Both perceptual and the tools of the carver. They will be introduced conceptual skills are developed and fundamen- to the characteristics of suitable carving mate- This course provides a studio context where concentration tal studio practices are taught, such as arma- rials. Emphasis is placed on the exploration of maturing self-initiated areas of ture construction, clay utilization, and model- the formal and expressive potentials of carved in sculpture can be developed to fruition on ing techniques. Works are fired in clay or cast sculpture. an advanced level. Whatever the direction, a in plaster. critical emphasis is placed through both open SC 401, SC 402 and devised assignments on how materials and SC 241, SC 242 Sculpture III (Types and Modes) forms compatible to personal statements are Sculpture Projects 6 hours, once a week found. Introductory Studio 3 credits/semester: fall and spring Prerequisite: SC 241, SC 242 6 hours, once a week Terms like monumental, genre, narrative, 3 credits/semester: fall and spring emblematic, environmental, etc., reflect the 999 Independent Study 3—6 hours An open studio oriented toward helping the cluster of types of sculptural imagery. This 1.5-3 credits/semester: fall-spring development of individual initiative. Stressed studio-criticism course is concerned with the are how ideas are transformed into sculptural ideational and technical issues raised by vari- An independent course of study dealing with statements through aesthetic reasoning and the ous types of sculptural imagery which are as- a particular issue of interest to student and internal logic of a sculpture's color, material, signed in turn. What is stressed in each case one or more faculty. Prior approval by the and physical construction. is the relationship that sculptures have with chairperson required. the context they exist in and the purposes they SC 251, SC 252 serve. Theories of Structure Prerequisite: SC 201, SC 202 (Seminar— Lecture) 1.5 hours, once a week 1.5 credits/semester: fall and spring

Lectures and discussions of various concepts and philosophies of structure: mathematical, biological, linguistic, perceptual, etc., and

their implications to the definition of art.

34 Fine Arts Program

Sophomores can take advantage of a Fine Arts Program, sponsored by the departments of Painting and Drawing, Photography/Film, Printmaking, and Sculpture. Students in the program will have a concentration of 27 credits in one of the areas of study named above. In addition, they will be enrolled in Fine Arts

studios where the focus is more conceptual,

concerning those issues that bridge all of the fine arts and leading to the possibility of more interdisciplinary work and alternatives to tradi- tional forms. This structure also allows for a gTeater elective system, which supports inquiry into areas other than the concentration choice.

General Program Requirements

The Fine Arts Program was originally con- ceived by the Painting Department and grew out of the joint efforts of the Painting, Photog- raphy, Printmaking, and Sculpture depart-

ments to provide a cooperative approach to the education of art students.

Its underlying philosophy of education sup- ports the artist in more than one discipline, drawing on a variety of skills and techniques to realize his or her ideas.

The Fine Arts studios focus on those issues which are common to all of the fine arts. The

emphasis is on learning the language of art and clarifying the intention of the student. This approach encourages more interdisciplinary work as well as alternatives to traditional forms.

The program requires a concentration of 27 credits in one of the four participating depart- ments, rather than the 45 credits required of other majors. This structure allows for a greater elective system to facilitate the acquisition of skills in other areas of interest. The Alternative Seminar, a sophomore requirement, serves as a source of exposure to those forms which have developed in the twentieth century, including

performance art, site-specific art, installations, and various forms of conceptual art. Liberal Arts courses formally complete the student's roster each year, providing the history of specific periods and movements in the visual arts as well as offering an opportunity to study the development of music, film, and literature as art forms.

The Fine Arts Program also features a Visiting Artists program, which serves to maintain a vital connection between the educational goals of this program and the art community at large.

Faculty Eileen Neff, Coordinator Nathan Knobler Gerald Nichols

35 Fine Arts Program Fine Arts Program Fine Arts Program Credit Requirements Painting Concentration Printmaking Concentration

Sophomore Year Credits Sophomore Year Credits Sophomore Year Credits Fine Arts Major Studio/Seminar 3.0 PT201 Sophomore Painting 6.0 PR 202 Screenprinting 3.0 Alternative Seminar 3.0 FT 251 Principles of PR 201 Relief Printing 3.0

Concentration 9.0 Organization I 1.5 PR 206 Printmaking Workshop 3.0 Electives 9.0 DR 207 Sophomore Drawing 3.0 PR 211 Etching 3.0 Liberal Arts 12.0 Junior Year Credits Junior Year Credits Junior Year Credits FT 303 Junior Painting 9.0 PR 300 Lithography 3.0 Fine Arts Major Studio 6.0 PT351 Principles of PR 306 Print Study Seminar 3.0

Concentration 9.0 Organization II 1.5 PR 223 Book Design I 1.5 Electives 12.0 Senior Year Credits PR 307 Book Design II 1.5 Liberal Arts 9.0 FT 401 Senior Painting 6.0 PR 326 Offset Lithography 1.5 Senior Year Credits FT 409 Senior Seminar 1.5 Senior Year Credits Fine Arts Major Studio 6.0 PR 400 Advanced Workshop* 3.0 Senior Seminar 1.5 Fine Arts Program PR 420 Thesis Workshop* 3.0 Concentration 9.0 Photography Concentration PR 222 Non-Silver Processes 3.0 Electives 7.5 Sophomore Year Credits PR 410 Book Design III 1.5 Liberal Arts 12.0 PF211 Introduction to Photography 6.0 *Senior year only PF217 Color Printing Workshop 3.0 Fine Arts Program Junior Year Credits Sculpture Concentration PF311 Intermediate Workshop 3.0 PF315 Photo Materials 3.0 Sophomore Year Credits PF313 Basic Studio* 3.0 SC201 Sculpture I 3.0 PF 311 or 313 or 323 SC202 Sculpture I 3.0 Selected Topics** 3.0 SC231 Introduction to Figure Modeling* 3.0 Senior Year Credits SC220 Molding and Casting* 3.0 PF411 Advanced Photography 3.0 PF415 Criticism Seminar 3.0 Junior Year Credits SC301 Sculpture II 3.0 *Junior or senior year SC302 Sculpture II 3.0 **Second semester of senior workshop SC321 Carving* 1.5 may be an option for this credit. SC421 Metal Studio* 1.5 Senior Year Credits

SC401 Sculpture III 3.0

SC402 Sculpture III 3.0

*Can be taken any time

36 Fine Art§ Program Required Courses

In addition to the required courses in each department, students must take the following studio/seminar:

FA 261 Sophomore Fine Arts Studio/Seminar 3.5 hours, once a week 1.5 credits/semester: fall and spring A lecture/discussion course in which the struc- tural and expressive components common to two- and three-dimensional arts are explored. Lecture/discussions alternate with assigned problems in which students utilize a wide vari- ety of materials and methods to form objects that confirm or question the ideas addressed in the lectures.

FA 264 Alternative Seminar 3 hours, once a week 1.5 credits/semester: fall and spring

A seminar format designed to expose sopho- more Fine Arts majors to the history and devel- opment of creative possibilities in art, stressing those forms which have evolved in the twen- tieth century as extensions, overlappings, or alternatives to traditional forms of expression. This course includes gallery and museum visits for direct experience of the forms considered.

FA 360 Junior Fine Arts Studio 6 hours, once a week 3 credits/semester: fall and spring A studio/lecture class addressing the clarifica- tion of individual intention. Focusing on gen- eral concepts such as metaphor and the visual narrative, problems are given which the stu- dent is free to explore in any form or combina- tion of forms. Alternatives to traditional forms and techniques are encouraged.

FA 460 Senior Fine Arts Studio 6 hours, once a week 3 credits/semester: fall and spring

This is an issue-oriented course directed to- ward individual development. A fourth of the time is given to presentation and discussion of contemporary issues, and the remaining three- fourths is given to studio practice. Individual critiques supplement the studio work. The de-

velopment of the senior thesis is also addressed in this course.

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Liberal Arts

The Liberal Arts Department is responsible for Liberal Arts Requirements Electives one-third of every student's credit load at PCA, A total of 45 credits must be earned in liberal Approximately one-third of the credit hours reflecting the College's conviction that the Lib- arts courses during the undergraduate pro- required in liberal arts are electives which may eral Arts are essential for the education of the gram. Studies in liberal arts are divided into be chosen from among the offerings in any of visual artist. The aims of the department are to four major categories: Language and Litera- the categories. There is also an independent develop students' understanding of the history ture, History and Social Sciences, Art History, study program for upper-class students to work and criticism of the creative arts, to introduce and Philosophy and Science. All students are with a faculty member on a special project. them to philosophic and scientific modes of required to complete successfully a minimum To make normal progress toward graduation, thought, and to the tenets of human cultures of 12 credits in Art History. This includes LA registering for 6 liberal arts credits per semes- and societies — in sum, to refine students' per- 140 A Art History, LA 140 B Art History, and ter is recommended. Students may register for ceptions of both their inner world and the outer 6 credits of art history electives. The Liberal more credits than are normally required pro- world and to help make them both intellectu- Arts department is planning a required fre- vided they have received permission from their ally responsible and intellectually creative. shman course, combining Western Civilization department chairperson. Liberal Arts Department presents the only and a survey of Western art history, to be The The Liberal Arts department is considering a four-year period for taught in conjunction with the regular freshman common ground over a three-year Honors Program for a small number the studio disciplines. It thus English requirement. Based on the entering students from all of highly motivated Humanities students. As to forum for student's transcript, SAT score, verbal test of has a unique opportunity create a planned, the program would provide a series stu- TOEFL (Test of English as a Foreign Lan- artistic and academic exchanges among of intensive cross-disciplinary courses, team guage!, and English Placement Test (given at dents. taught by Liberal Arts faculty members. PCA) scores. Language and Expression (LA 109 B, and LA 110A and B( Faculty 108, LA 109, LA Transfer Requirements may be required. LA 108 and LA 109 do not Nancy Davenport, Chairperson Liberal arts subjects may be transferred, pro- satisfy the Language and Expression require- Laurel Adams vided the course work completed elsewhere is ment. Students will be given Language and Louis Armour equivalent to PCA course offerings. Alice Bampton Expression credit for LA 109 B. Students must All students must earn or transfer a minimum Stephen Berg satisfy the credit total in each subject category. of 12 credits in 300-400 level liberal arts Richard Boyle Minimum credit requirements are as follows: courses. Transfer students are responsible for Martha Breiden fulfilling the 45-credit requirement. Theresa Conn Language and Expression Transfer students transferring 15 hours or more Lawrence Curry LA 110 A & B 6 credits may not transfer any additional hours as a full- Mary Ellen Didier Art History I and II 6 credits time student at PCA. Richard Farnum Art History Electives 6 credits Laura Fattal History and Social Studies 6 credits Students who wish to take Liberal Arts credits Allen Feldman Language and Literature 6 credits at colleges other than PCA must have prior Leah Freedman Philosophy and Science 6 credits written approval from the chairperson of the Warren Gulko Liberal Arts Electives 9 credits Liberal Arts Division. Claudette Hart (or 15 if LA 110 is not required) The upper division classes listed below are not Ron Hayes Total minimum necessarily taught every term. Anne Karmatz Liberal Arts requirement 45 credits Sherry Lyons George McGeehan Mary Martin Martin Novelli John Oilman Diane Perkins Ruth Perlmutter Christopher Phillips Mary Anne Rudy Arthur Sendrow Ward Stanley Joan Stemmler Patricia Stewart Sandra Tatman Fabian Ulitsky Cindy Haveson Veloric Susan Viguers Stanley Ward William Webster Carla Weinberg Burton Weiss Lily Yeh Toby Silverman Zinman

38 Language and Expression LA 110 A & B LA 210 A & B fall and spring American Writers 3 credits LA 108 Training and practice in expository and argu- fall or spring mentative writing. Students who are required The first semester course examines the major for these courses must satisfactorily- ideas and trends in nineteenth-century Ameri- The objectives of this course are to prepare to register 110 before registering for LA can literature. The course includes the study students for whom English is not a native lan- complete LA A B. 110 B must be satisfactorily com- of works by Poe, Hawthorne, Melville, Dickin- guage to produce the kinds of writing expected 110 LA for graduation. It must be registered for son, and James. The second semester course of them on the college level, and to improve pleted following completion of LA 110 focuses on twentieth-century American writers upon their reading, study, and test-taking the semester 110 concentrates on critical thinking and includes the study of works by Wharton, skills. Concepts of paragraph unity, coherence, A. LA A paper completes the Lewis, Hemingway, Fitzgerald, and Steinbeck. and outlining are introduced through the chief and writing. A research 110 is an introduc- methods of composition development: chrono- fall semester's work. LA B literature with further work 211 logical, spatial, examples, definition, cause tion to combined LA Writers and effect, comparison, contrast, and logical in composition. Women 3 credits division. Further, the course provides a review of those principles of English grammar that Related Arts This course examines literature written by present the greatest difficulty to students of women for its uniqueness and, equally impor- English as a second language: verb tenses, LA 091 tant, for its significance in the mainstream of modals, irregular comparative forms, and cor- Music as Art literature. The course begins with such writers rect preposition and article usage. Standard 3 credits as Jane Austen, Emily Bronte, Emily Dickin- English punctuation practice is also stressed. son, and Virginia Woolf, and moves to contem- This is an introduction to nineteenth-century Five major essays and a series of shorter writ- porary writers. Western music. It is primarily a listening (or ten assignments are required. Attendance is appreciation) course. The historical time Grades in 108 will be assigned LA 214 A mandatory. LA period covered in the course is from Beetho- basis. As is the policy in Major Writers on a pass/no grade ven's death to Mahler's death. In addition to 3 credits other colleges and universities, college credit works by these composers, we will listen to pre-freshman English. stu- is not given for A Berlioz, Brahms, Wagner, Debussy, Ravel, The content of this course will vary from course is dent who successfully completes the Bartok, and Stravinsky. semester to semester. subsequently assigned LA 110 A. LA 999 LA 214 B LA 109 A & B Independent Study Major Writers fall and spring 3—6 hours 3 credits The objective of this course is to provide every 1.5—3 credits A study of the developments in the American student enrolled in it with an opportunity to An independent course of study is offered theater in the past fifty years, looking at the course is succeed in college. To this end, the which considers a particular issue of interest works of such authors as O'Neill, Miller, Wil- designed to help students improve in reading, thea- to student and one or more faculty. Prior liams, Albee, and Shepard. There will be writing, skills. The technical aspects and study approval by the chairperson is required. ter trips as well as showings of filmed plays. of writing, specifically grammar, punctuation, spelling, and paragraph construction are Language and Literature LA 215 stressed along with reading comprehension, Short Fiction vocabulary, sentence structure, logical re- LA 130 A & B 3 credits lationships, and usage. Students have the op- French I A study of the short story, from Poe to the pres- portunity to improve particular problem areas 3 credits/semester: fall and spring ent. Samplings from the British, the American, through completion of individual projects in Students study the basic elements of French and the European, with particular attention to the Reading and Study Skills Center. These grammar through conversation and drills de- the major authors who reinvented the genre. projects include the areas of listening and note rived from readings of easy modern prose and At the end of the semester students will look taking. Grades in LA 109 will be assigned on from a cultural reader. at developments in contemporary fiction: the a pass/no grade basis. As is the policy in other anti-story, the new wave, the surreal, the mini- colleges and universities, college credit is not LA 132 A & B mal, the funny, the mythic. given for pre-freshman English. LA 109 is nor- Italian I mally registered for no more than two times. If 3 credits/semester: fall and spring LA 218 is permitted to register for LA 109 a a student Superheroes: From Beowulf to Spiderman This course covers conversation about every- third time, failure to complete the course will 3 credits Italian life and culture and basic grammar necessitate withdrawal from the degree pro- day through reading of Italian prose. This course examines the most important gram. Students completing LA 109 will enter superheroes of popular culture in the Middle LA 109 B. This course will be given for credit. Ages— Beowulf, Roland, Siegfried, the Cid, Students successfully completing LA 109 B and King Arthur. What do those heroes and will enter 110 B in the next semester. the epics in which they appear reveal about their culture? How do they compare to two examples of modem popular superheroes, Superman and Spiderman?

39 LA 219 LA 314 LA 320 A Children's Literature Literature and Film: Images of Vietnam Humanities I 3 credits 1950-1980 3 credits

This course is designed as an investigation 3 credits Great works of literature provide remarkable into the anonymous oral traditions of world Using a combination of films (documentary keys to understanding and appreciating the literature, which continue to nurture the imagi- and entertainment) and readings (fiction, different eras of Western civilization. This nation and sense of identity of children today, memoirs, history), this course explores the course examines a selection of the greatest and into the modem tradition of children's lit- involvement of the United States in Vietnam literary works of ancient Greece through the erature. The course focuses on children's liter- from the early 1950s to the late 1970s. Renaissance. The course focuses on the per- ature as an introduction to the principles and spectives and values those works reveal: what forms of art and to the role of the imagination LA 315 A questions the different cultures asked; how in child development. Modern Drama they approached and defined human potential, 3 credits fate, reality; and, finally, how they defined art

LA 223 A study of the development in the modem the- and the artist's role — entertainer, recorder, Issues of Faith in Literature ater from the end of the nineteenth century to shaper, conscience, or hero. 3 credits the present. Students will read some of the An exploration of world literature with em- world's most famous playwrights: Ibsen, LA 320 B phasis on moral, social, and religious values Strindberg, Chekhov, Shaw, Pirandello, Lorca, Humanities II: Neoclassic, Romantic, as they apply to contemporary life. Some of Brecht, O'Neill, Williams, and Miller. There and Modern the authors whose work will be studied are: will be required theater trips. 3 credits

Anton Chekhov, Sophocles, Rainer Maria This course is a continuation of Humanities I, Rilke, T S. Eliot, Leo Tolstoy, Samuel LA 315 B focusing on the same issues but in the seven- Beckett, Franz Kafka, Wallace Stevens, Contemporary Drama teenth through twentieth centuries. Readings Graham Greene, and Ernest Hemingway. 3 credits include works by such writers as Moliere, Vol- A study of the often strange, experimental taire, Austen, Goethe, and others, and end LA 230 A & B developments of today's theater, both on with two twentieth-century writers, D. H. II Lawrence and James French Broadway and off, from Waitingfor Godot to Joyce, who represent two 3 credits the present moment. Students will read some significantly different modem traditions.

Open to students who have completed French I of the most famous playwrights of our time: or have had two or more years of high-school Genet, Beckett, Ionesco, Albee, Pinter, and LA 411 A French. Students read short stories of modern Shepard, as well as some not so famous. Thea- Renaissance Literature: Exclusive of French writers and a novel, La Princesse de ter trips will be required. Shakespeare Cleves, by the eighteenth-century woman writer 3 credits Mme. de la Fayette. LA 317 A Works by Boccaccio, Machiavelli, Erasmus, Romanticism Rabelais, Cervantes, Jonson, Calderone, and LA 311 3 credits others are read to explore the remarkable con- Greek Drama A study of the Romantic movement in En- tribution of these writers and to develop an 3 credits gland, including the major poets (Blake, understanding and appreciation of the Plays by Aeschylus, Sophocles, Euripides, Wordsworth, Coleridge, Byron, Shelley, and Renaissance. and Aristophanes are read and examined to Keats), several novelists (including Bronte's understand their own integrity as works of art Wuthering Heights and Mary Shelley's Fran- LA 411 B and to develop an appreciation of the extraordi- kenstein), and samplings from the letters and Renaissance Literature: Shakespeare nary accomplishment of Greek drama. essays. Some of the predominant Romantic 3 credits themes—the artist as outcast, revolution, The second semester of Renaissance literature LA 313 man's relation to nature— will be addressed. focuses on the supreme writer of the English Poetry Writing Workshop: Composition Renaissance, Shakespeare. Several of Shakes- and Theory LA 317 B peare's comedies, histories, tragedies, and 3 credits/semester: fall and spring Blake: The Literary and Visual Art romances are read, and, if possible, one pro-

In this workshop the students write poems to 3 credits duction of a play and two film versions of King be brought into class, discussed, criticized, A study of Blake the prophet, Blake the revo- Lear are seen. and put through some of the stages of revision lutionary, and Blake the artist through an that would improve the poems and help the examination of his poems and illustrations. LA 414 A & B students to bring them to a further degree of Using facsimile editions (with special access Studies in Literature credits/semester: spring excellence. Principles governing the decision to those in the Rare Book Room), students will 3 fall and to change a poem in various ways, the study of read selections from Songs ofInnocence, Songs The content of this course will vary from poems by American and English poets, the ofExperience, and The Marriage ofHeaven semester to semester, focusing on a particular reading of some criticism, concentration on and Hell, and then investigate Blake's cosmol- country or group. the nature of and on some of the basic prin- ogy with Urizen and his visionary politics with ciples of craft —these are the main areas that America. The meaning of some difficult poetry are covered. Theory will involve, primarily, and the complex relationship between literary sound, content, meaning, and purpose of stu- and visual art will be probed. dent poems and of poetry in general. The poet's sense of an audience will also figure in the discussions.

40 LA 415 A & B LA 243 B LA 248 B Contemporary Poetry Italian Renaissance Art History of Film II —Film Comedy from 3 credits/semester: fall and spring 3 credits Chaplin to Woody Allen

This course consists of the reading and inter- The course is concerned with the major figures 3 credits/semester: spring

pretation of major poets— Eliot, Stevens, Wil- in the artistic centers of Italy from Giotto in What is comedy? How is it manifested in film? liams, Lawrence, Whitman, Bishop, for exam- the fourteenth century to the early work of What are the differences between comedy, sa- ple—and some important contemporary poets Michelangelo at the end of the fifteenth cen- tire, parody, silents (Chaplin, Keaton) and such as Kinnell, Levertov, and Wright. Foreign tury. Thus, although the architects, sculptors, sound film comedies (Hawks, Capra, Sturges, poets, in translation, are also part of the and painters of Florence are the focus, art- Clair, Tati, Marx Brothers, Jerry Lewis, Woody course: Milosz, Pavese, Hikmet, Akhmatova, ists in Venice, Padua, and Rome are also Allen)? How is comedy related to structures of to name four. Prose writing by most of the poets discussed. thought? To other film genres? How American

concerning poetry is included as an important is American comedy? The course is concerned part of understanding and interpreting the LA 245 A & B with the forms and traditions of film comedy, readings. Several of the poets have written im- History of Western Architecture such as the great slapstick comics of the silent portant criticism. Analysis of each poet's style 3 credits/semester: fall and spring era (Chaplin, Keaton); the screwball comedies

it part of and why the poet has developed form In the first semester, this course is a survey of (Hawks, Capra, Sturges); the French stylists the course. Aesthetic theory and the function the development of western architecture from (Clair, Renoir, Tati); and the contemporary of poetry as a social force—both will also be the ancient world of the Greeks and the Ro- Americans from the Marx Brothers to Woody considered. mans through the Renaissance, from the Re- Allen. naissance to the post-Modern architecture of

Art History today. In the second semester, emphasis is on LA 251 A & B the twentieth-century "modern" developments. History of Design LA 140 A & B This course should be taken in sequence, as 3 credits/semester: fall and spring Art History I, Art History II the second semester is dependent upon knowl- This course investigates the development of

3 credits/semester: fall and spring edge of the first semester's work. design in the nineteenth century (first semes-

Students will be asked to understand the inter- ter) and its growth and development in the action between the structure of society for each LA 247 twentieth century (second semester). All areas major style period and the form of major works American Art from the Colonial Period to of design— architecture, fine art, applied and of art from the period. Students will gain a World War II industrial art, the crafts, and graphic art — will framework so that they can pursue more 3 credits be covered. This course should be taken in specialized courses in Liberal Arts and Studio American art developed an ever greater depth sequence, as the second semester is dependent with some overall sense of historical and stylis- of spirit and national identity as the United upon knowledge of the first semester's work. tic order. They will gain a familiarity with States evolved. The American artist gained his major innovators in each period. They will be individual freedom slowly, having first been LA 254 introduced to a vision of each age and the logic considered a tradesman, then a religious European Modernism that produced it, thereby making unknown but philosopher, and then a social critic. The 3 credits representative works recognizable. They will course analyzes the struggles of American art- European art from 1900 to World War II: gain a new sense of history, of artists, of soci- ists to create an art which serves and speaks of Cubism, Futurism, Constructivism, Sur- ety, and of art. America, independent of the traditions of realism, with emphasis on the major modem Europe. masters such as Rodin, Picasso, Matisse, LA 242 Brancusi, and Mondrian. Medieval Art LA 248 A 3 credits Film History LA 255 A & B

The course investigates the sculpture, ar- 3 credits/semester: fall History of Nineteenth- and Twentieth- chitecture, painting, and decorative arts of The course is a survey of the history of film. Century Photography Europe from the early Christian period in the Films will be selected from the following 3 credits/semester: fall and spring third century AD. to the proto-Renaissance in categories: early film forms (Lumiere, Griffiths, The objectives of this course are to provide an Italy in the fourteenth century, observing the and De Mille); Dada Surrealist influences introduction to the significant photographers emergence and flowering of a northern Euro- (Leger, Bufiuel, Marx Brothers, and Resnais); and their work in the history of the medium, to pean mystical Christian vision separate from the impact of constructivism and the machine describe technical developments and their im- the monumental classical vision of Greece and aesthetic (Eisenstein, Vertov, and Chaplin); pact, to discuss the major visual and aesthetic Rome. German Expressionists' influence on Holly- trends in the development of photography and

wood (Ford, Welles, Wyler, and Hitchcock); their relationship to art in general, and to de- LA 243 A modern European and American films (Berg- scribe the larger social context in which Northern Renaissance Art man, Godard, Kubrick, and Altman); and photography has developed. 3 credits avant-garde art influences on new American

The course analyzes the painting of the late cinema (Deren and Brakhage). Slides will ac- LA 256 Gothic illuminators of the fourteenth-century company the lectures; required readings will Nineteenth-Century Painting and German and Flemish Mannerists such as be concerned with critical methods of film Sculpture: 1776-1900 Cranach, Brueghel, and Bosch. Students in- analysis. 3 credits vestigate the complex symbolism of northern Paintings and sculptures made in the early iconography, the new techniques developed, years of the modern age in the West are and the historical background of a style often examined in an international context. called Northern Realism. Emphasis is on the works of the major French, English, German, and American artists. The variety of subjects these artists explored and the new styles they developed as they responded to the world of the nineteenth century will be among the topics discussed.

41 LA 257 LA 353 LA 452 Ancient Art Impressionism Topics in Design 3 credits 3 credits 3 credits

This course is an investigation of the art and The nineteenth-century style known as Impres- This seminar is part of an ongoing investigation architecture of the ancient world, concentra- sionism is often considered to be the founda- of the newly recognized phenomenon called

ting on the classical art of Greece and Rome, tion of European modern art. The course design history. Each semester the course is

but also considering the arts of Mesopotamia chronologically investigates Impressionism in taught, a different aspect of design history is and Egypt. its historical and cultural context. The techni- studied. The subjects so far offered have been cal and conceptual philosophies that underlie the designers Wright, Le Corbusier, and Aalto; LA 258 its development will also be considered. particular design histories: crafts history, Baroque Art graphic design history, and industrial design 3 credits LA 354 history. The last category has had a specific The course analyzes the works of the major Post-Impressionism focus on American contributions to design be- European artists of the seventeenth century: 3 credits tween the two world wars and before the major Bernini. Rubens. Velasquez. Rembrandt, Post-Impressionism follows Impressionism as European invasion of designers who changed

Poussin, and Vermeer. Through a study of the the foundation of European modem art. As in American design after World War II. Material genres of landscape, still life, and portraiture, the course entitled Impressionism, the material yet to be covered is the Arts and Crafts move- all mature by the seventeenth century, other will be chronologically investigated with re- ment, Art Nouveau, Bauhaus, Art Deco, and

artists such as Hobbema, Ruisdael, Zurburan. spect to its historical, cultural, and aesthetic Post-Modernism. and Hals are also studied. context. The technical and philosophical con- cepts that underlie Post-Impressionism's devel- LA 453

LA 342 opment will also be explored. Although it is Art of Japan Chinese Art not a prerequisite, the student would do well 3 credits

3 credits to prepare for this inquiry bv first completing The course covers painting, sculpture, ar-

The course covers painting, sculpture, ar- LA 353. chitecture, and minor arts of Japan from the chitecture, and decorative arts from the Neo- Neolithic period to the eighteenth century A.D.

lithic period (sixteenth century B.C.) to the LA 355 It studies the emergence and the development Ching dynasty (eighteenth century A.D.I. Spe- Dada and Surrealism of a unique, national style from an art world cial emphasis is placed upon the Shang bronze 3 credits dominated by Chinese influence. It traces the ware, the H'an and Tang sculpture, the Sung This course covers the history of the post- development of painting from the medieval Yamoto-e narrative scrolls the fifteenth and Yuan landscape painting, and the Sung World War I anti-rational movements, Dada through and Ching pottery. The various art styles are and Surrealism. Since these were literary and century. It examines the evolution of various related to their historical, religious, and social political as well as artistic movements, atten- architectural styles from the great Buddhist background, with particular emphasis on the tion is given to texts by such authors as Ar- temples of the seventh century to the majestic impact of Confucianism, Taoism, and Bud- taud, Breton, Freud, Jarry, Rimbaud, and castles of the seventeenth century. In sculpture dhism on Chinese art and architecture. From Tzara, as well as to works of art. and pottery, the technical improvements and time to time, Eastern and Western cultures the change of aesthetic values from the Jomon will be compared to understand better the LA 358 and Yayoi phases to the porcelains of the similarities and differences between the two. Romanticism in Europe and America seventeenth century are analyzed. A brief 3 credits historical and social background of Japan accompanies the study of the various art styles. LA 345 The course includes painting, sculpture, and Special attention is given to the influence of Modern Architecture architecture from the late eighteenth to the Zen Buddhism on Japanese culture. 3 credits mid-nineteenth centuries in France, England, The course investigates the phenomenon called Germany, Spain, and the United States. The LA 456 modem architecture. Students study both the concepts of Romanticism are discussed as they Major Artists theoretical premise of this movement and the apply to this art and to the contemporary envi- 3 credits social context that generated it. Students will ronment of social and political revolution. also inquire into modem architecture's legacv: The course concentrates on a single artist and post-modem architecture. LA 448 his work. The artists under this intense investi- American Art after 1945 gation have been Donatello. Michelangelo, LA 346 3 credits Rembrandt, and Picasso. Others may be cho- African, sen by the faculty for future classes. The Oceanic, and Black American In 1945, World War II ended; the focus of mod- Folk course has been designed to give students an Art em art shifted from Paris to New York City. in-depth knowledge of one artist's life and art. 3 credits The course begins with Abstract Expression- Artistic, religious, sociological, and geo- ism: studies other major American styles, such LA 457 graphic aspects of societies of Africa and as Pop Art and Minimalism; and concludes Cubism and Twentieth-Century Art Oceania are studied in order to establish con- with Post-Modernist developments such as per- 3 credits tinuity as well as distinction between their art formance and decoration by artists. forms. Black American folk art. an extension Cubism is one of the most important, if not the and transformation of African art, will also be LA 450 most important, of the foundations of twentieth- analyzed. Local field trips are required. Art of India century art. This course surveys the develop- 3 credits ment of the style that made it important, from its beginnings in the work of Picasso and The course covers painting, sculpture, and Braque to the dissemination of the style in the architecture from the Indus Valley civilization later twentieth century. Cubism's impact on of the second millennium B.C. through the dif- abstract art. sculpture, architecture, design", ferent periods of Buddhist, Hindu, and Islamic and to a certain extent, literature, are dominance to the Rajput painting of the explored. eighteenth century A.D. The different art styles are related to their historical, religious, and social background.

42 History and Social Studies LA 260 A LA 267 Human Origins Introduction to Cultural Anthropology

LA 160 A 3 credits/semester: fall This course explores the nature and variation Western Civilization An introduction to the history of ideas with in human culture and various explanations of 3 credits/semester: fall emphasis on the theory of evolution; an intro- these differences (i.e., symbolic, functional, Awareness of pre-industrial societies enables duction to the order Primate; and a survey of and historical). In this survey of culture in us to explore some alternatives for the post- living nonhuman primates species from Pro- western and nonwestern societies, we will con- industrial society to which we are moving. By- simians to the Great Apes, stressing general sider religion, mythology, and art; marriage, studying forces— political, economic, social, characteristics and evolutionary trends of kinship, and group formation; ecological adap- and cultural — behind the rise and fall of previ- the order. tation; economic and political organization; ous civilizations, we can better understand the and the relationship of culture to personality. present and look toward the future. This course LA 260 B Readings and films will be chosen to illustrate covers the civilizations of ancient Greece and Human Origins the effect of variations of size, environment, Rome, of medieval Europe and the Renais- 3 credits/semester: spring and subsistence, and social complexity on cul- sance, and of the absolute monarchies of An introduction to the human biological and tural expression within groups. seventeenth-century Europe. Students examine cultural evolution; survey of the major evolu- topics such as various forms of government, tionary stages in hominid evolution; introduc- LA 360 A democracy, centralized empire, decentralized tion to Paleolithic technologies; discussion of Renaissance and Reformation: feudalism — various modes of production based and comparison of contemporary Stone Age 1400-1648 on crafts, guilds, mercantilism, and societies with Paleolithic populations. 3 credits/semester: fall capitalism—various cultures, their arts and This course examines the intellectual and architecture, and the changes in world view as LA 262 A & B cultural explosion which heralded the modern a result of the Newtonian scientific revolution. East Asian History era in western civilization. Political, economic, In this particular course, ideas and broad 3 credits philosophical, religious, and cultural develop- trends are more important than battles, dates, This covers the history of China during the ments will be stressed. and kings. first semester and Japan during the second semester, with special emphasis each semester LA 360 B LA 160 B on the modern period and relations with the Age of Science and Enlightenment: Civilization Western United States. 1600-1815 3 credits/semester: spring 3 credits/semester: spring

The past illuminates the present and helps us LA 263 A & B This course probes the dramatic intellectual plan for the future. Is it possible to have both Political Science revolution of the age of science and the liberty and equality? How and when did the 3 credits/semester: fall and spring applications of the revolution to every province middle class rise to power? What are the dif- An introductory course dealing with the funda- of human experience. The Enlightenment and ferences between capitalism, socialism, and mentals of the American political system via the French Revolution, which are also part of communism? What caused World War I? World its institutions and political behavior. Topics the transformation of Europe, are studied from War II? What are the threats major to world include power and change, conflict and con- the perspective of their consequences for the survival? Students study these and other sent, liberty versus authority. modern world. topics. This course stresses the political, economic, social, and cultural forces at work LA 266 A & B LA 361 A in the ever-changing world of western civiliza- History of the Classical World Criminology tion from the eighteenth century to the present. 3 credits/semester, fall and spring 3 credits/semester: fall Broad trends and ideas are more important A lecture course that studies the history of the This course divides the major sociological dis- than battles, dates, and political leaders. ancient world. After a brief introduction to the cipline of criminology into its major areas. An early civilizations of the ancient Near East, in-depth study of the general causes of crime LA 162 attention is focused on Greek and Roman his- and the methods of studying the offender. Introduction to Sociology tory, mythology, and life-style, with emphasis 3 credits on those features which have influenced and LA 361 B This course is an introduction to the study of appeared in western life and art. LA 266 B Criminology society and social interaction. It emphasizes will be a survey of European history from the 3 credits/semester: spring concepts and basic perspectives rather than fall of the Roman empire and the Barbarian This course studies the correctional system. the presentation of data, so that the student invasions, through the Carolingian empire, focusing on penology and alternatives to may gain an understanding of the sociological Byzantium, the feudal national kingdoms, and incarceration. orientation. Information, mostly on American the Holy Roman Empire. Also covered will be society, will be presented in a sequence which the struggle between church and emperor, the LA 369 corresponds to the way the individual encoun- Crusades, and the city-states of Italy as a pre- Cultural Ecology ters the social world in his lifetime. Topics will lude to the local dynasties of the Renaissance. This course reviews the various cultural adap- include socialization, the family, the commu- tations found in different environments such nity, stratification, education, bureaucracy, as deserts, grass lands, circumpolar regions, work, deviance, and values and ultimate tropical and temperate forests, islands, and meanings. high altitude and urban areas. These adapta- tions include hunting and gathering, fishing, and agriculture (shifting, irrigated, and indus-

trial). The attitude toward the environment, population growth, and the use of labor, tech- nology, energy, and other resources will be considered.

43 LA 362 A & B LA 373 A & B LA 181 A American Civilization Comparative Religions Child and Adolescent Psychology 3 credits/semester: fall and spring 3 credits/semester: fall and spring 3 credits/semester: fall and spring An in-depth study of the origins of American This course covers the world's major religions This course is developmentally oriented and democracy with an emphasis on how the by studying their historical development, focuses upon Erikson's psychosocial stages of United States was shaped into its particular beliefs, sacred literature, and the works of con- life from birth to adolescence. Some major political, social, and cultural patterns. The temporary writers. The first semester is con- topics that are studied include pregnancy, the subject matter of the first semester includes cerned with Eastern religions such as Hindu- birth process, and the physical, intellectual, the process of settlement, colonial societies, ism, Buddhism, and Taoism; the second emotional, and social development of the the movement for independence, the framing semester deals with Judaism, Christianity, child. Family life and parent-child relation- of the Constitution, the growth of the egalita- and Islam. ships are also examined, with particular rian spirit, and the Civil War. attention given to the impact of our social LA 461 institutions upon parents and children. LA 363 The American Revolution Sociology of Culture 3 credits/semester: fall and spring LA 181 B 3 credits An in-depth study of the most crucial years Adult Psychology 3 credits/semester: spring This course examines the situation of culture in the history of the American people. The in modern society. It will include discussion of issues which led to independence, the philoso- This course is developmentally oriented and the nature of culture; its producers, such as phy of the period, and the war for indepen- focus is upon Erikson's psychosocial crises artists and intellectuals; its audience; and its dence are among the topics studied. from adolescence to death. Some major topics institutions, such as education, the media, studied are career choice, human sexuality, and religious organizations. The prospects for LA 464 love, marriage, values, mental health and men- high culture in modem society are assessed The Holocaust tal illness, aging, and death. within the context of broader cultural trends 3 credits 274 such as modernism and the avant-garde, popu- The Holocaust is a watershed event in modern LA Thinking about Art lar culture and anti-intellectualism, and history. This traumatic episode left indelible politicization and secularization. marks on Western society, probably for gener- 3 credits

ations to come. It was caused by factors that Thinking about Art is a course in the philoso-

LA 366 A & B still exist in the world. This course examines phy area directed toward the consideration of The City: Its History and Uses the history which led to the Holocaust, and art theory and the experience of works of art. 3 credits/semester: fall and spring will attempt to understand what happened and The course has three important focuses: read-

Fall semester is a study of the city in history, what meaning it has for us today. ing, writing, and regular direct experience of

the forces which shaped its development, and painting and all of the arts. the impact the city has had on history. The LA 468 American city from the seventeenth century to The Civil War LA 280 A & B

the present is used as the model for this study. 3 credits Physics fall and spring Spring semester of this course is an in-depth An in-depth study of the most tragic period in 3 credits/semester: study of selected urban problems and themes American history, including an analysis of the This is an introductory college physics course. dealing with urban history. causes of the war, the social and economic The topics covered in the first semester include changes precipitated by the war, the battles, kinematics, dynamics, energy, structural LA 367 and the long and equally tragic effort to analysis, and waves. The second semester con- Topics in Cultural and Intellectual reconstruct the nation. centrates on a study of light, electricity, and History: Eighteenth to Twentieth magnetism. Both semesters will include fre- Centuries Philosophy and Science quent references to architecture, design, and 3 credits the fine arts. A background in algebra is recommended. This course proposes to study the topics listed LA 170 A & B below and their relationship to the creative Introduction to Philosophy artists of the eighteenth, nineteenth, LA 281 arts and 3 credits/semester: fall and spring and twentieth centuries: the impact of the idea Readings in Psychology This is an introduction to analytic philosophy; of Newton, Darwin, Marx, Freud, and Einstein; 3 credits it includes a brief examination of the history of the impact of industrialism, materialism, and Selected readings in each of the following Western philosophy with an emphasis on mod- social class change; the ideas behind the poli- areas: the sensory world, personality develop- ern philosophy and the works of Descartes, tical theories of liberalism, socialism, commu- ment, mental health and creativity, dreams, Berkeley, and Hume. Several substantive prob- nism, and fascism. work, and love. Each area is explored in lems are considered in detail, such as the exis- sufficient depth to allow the student to perceive tence of God, the mind-body problem, and the LA 368 and to develop an understanding of the re- nature of knowledge. World War II lationships and influence that each of these 3 credits/semester: spring areas exerts upon the other.

This course is a thorough examination of World

War II, which includes the rise of fascism, the LA 282 A origins of the war, and Hitler's life and person- Fundamentals of College Mathematics

ality. Conflicting interpretations of such events 3 credits/semester: fall as Pearl Harbor and Potsdam are studied. Em- An introduction to the fundamental mathemati- phasis is on causes and effects rather than cal principles and operations used in under- battles and generals. graduate courses in the physical and social sciences. Topics include sets, logic, probabil-

ity, statistics, number theory, algebra, and geometry.

44 LA 282 B LA 385 Team-Taught Courses Calculus Social Psychology LA 490

3 credits/semester: spring 3 credits One or more team-taught course is offered each An introduction to calculus with emphasis on An exploration of family dynamics, group be- semester, with 3 credits given in any one of the applications of differential and integral havior, attitudes, communications, group pro- the fields within the scope of the material. The calculus to the physical and social sciences. cesses, roles, and culture. An examination of content of the course varies each semester. Prerequisite: LA 282 A, equivalent college- our social institutions and social problems. Courses which have been given are as follows. level mathematics, or pre-college advanced Prerequisite: LA 181 A or LA 181 B. algebra and geometry. Vienna and Berlin: 1900-1925 LA 388 3 credits LA 380 A Perception At the beginning of the twentieth century, Vie- Life Sciences 3 credits nna and Berlin were important centers during 3 credits/semester: fall The structure and function of the senses of one of the richest periods in the cultural and

The study of life as it evolved from unicellular vision, audition, olfaction, gustation, touch, artistic history of the Western world. Much of organisms to humans. Special emphasis is on temperature, kinesthesis, time, and the brain the science and art of this century was given

behavior, instinct and learning, aggression and nervous system are considered as they its focus and thrust by the men of genius work- and human nature, and ecology. relate to perception. ing in these two cities. In this course, students study the works of Einstein, Freud, Mahler, LA 380 B LA 470 A Schoenberg, Wittgenstein, Kafka, and the Ger- Physical Sciences Introduction to Aesthetics man Expressionists. This is an interdiscipli- 3 credits/semester: spring 3 credits/semester: fall nary course involving the visual, musical, and arts, well philosophy. An investigation of astronomy, geology, and This is an introduction to the philosophy of literary as as other physical sciences, including the origin art. After a brief examination of analytic philo- of the universe and solar system and the nature sophic methods and the history of aesthetics, Middle East and Culture of physical sciences, matter, and energy. This we consider some of the fundamental problems 3 credits course provides a background for understand- in aesthetics, such as the intention of the art- An introduction to the art and culture of the

ing the problems of scientific impact on human ist, the physical object/aesthetic object dis- Middle East through the perspectives of an- values. tinction, and the nature and comparison of thropology and art history. The course exam- different kinds of art media. The relationship ines design, symbol, procedures, and tech- LA 382 between language and art will be central to the niques of Middle Eastern art, particularly Contemporary Psychology course. ceramics, glassware, textiles, painting, ar- 3 credits chitecture, and metalwork. These arts are

A survey of major social problems today and LA 470 B examined in their social, cultural, and histori- an analysis of society's resistance to imple- Aesthetics Seminar cal context, which will include the influence menting the necessary painful solutions. Stu- 3 credits/semester: spring of Islam on ritual and symbol, the influence of environment on materials and architecture, dents will study the current status of major This is an advanced course in the readings social institutions and their increasing failure and discussions of philosophic problems re- urban-rural traditions, trade patterns and mar- to meet and satisfy human needs. Some of the lated to works of art and discourse about works ket organization, diffusion of design and mate- rials, the role of the artist and craftsman other areas that will be studied are mental of art. We will review the analytic method of and health and mental illness, human values, love philosophic inquiry, we will discuss the phi- in Middle Eastern society. and marriage, dreams, and preventive losophy of Wittgenstein and other twentieth- programs. century philosophers interested in the philoso- The Old Testament: History and phy of language. We will examine Languages Literature LA 383 ofArt by Nelson Goodman. 3 credits Personality and Adjustment The course covers selections from the Old Tes- 3 credits LA 480 tament in their historical and literary contexts.

The course is concerned with the study of Psychology of Creativity The investigation focuses on the difference personality, the patterns of behavior and pre- 3 credits between myth and history, on the influence dispositions that determine how a person will This course examines the problems involved from outside cultures (Persian and Greek), and of significant perceive, think, feel, and act. The inner life of in defining and attempting to measure creativ- on the development themes: ideas of and the notion of suffering in the men and women, the quality of their character, ity. The course is developmentally oriented, Yahweh their adjustment of their social milieu, and with the relationships between creativity and role of the individual in society. These themes perspective the their potentialities for self-fulfillment are all normal growth and development, and intelli- are also discussed from the of are the explored. Special attention is given to the ad- gence and personality being studied. Problems literary form in which they recounted: (myth meta- justment problems of artists in work and love. that the artist encounters with productivity are epic, the poetic formulations and narrative structure. explored, as well as the values of society to- phor), and the dramatic or

LA 384 ward creativity and the artist. Abnormal Psychology 3 credits Human development and abnormal psychology: ego defenses, emotional disorders, therapeutic theories, and treatment techniques. Clinical diagnosis and classification of mental disorders. Prerequisite: LA 181 A or LA 181 B

45 —

Learning Resource Center Art Therapy

The academic support services offered by the An undergraduate art college is the ideal place LA 384 Learning Resource Center are available to all to begin the study of art therapy. At the Phila- Abnormal Psychology students as a supplement to their classroom delphia College of Art the student is equipped instructions. The center helps students develop with practical experience in art while acquiring AT 300 skills in reading, writing, and other academic a background in psychology and behavioral Introduction to Art Therapy areas, including successful classroom strategy science. Following a brief introduction to the field of art and improving study habits. While majoring in one of the studio depart- therapy, students visit a variety of institutions

Professional and peer tutoring are available for ments of the College, the student is given the and are exposed to a wide range of disorders general skills and for specific subjects or opportunity to investigate art therapy on the intellectual, physical, emotional, and social. courses. Computer-assisted academic instruc- undergraduate level. The Concentration in Art The course is developmentally oriented, start- tion is also available. Throughout each semes- Therapy is designed to afford students the ing with children, followed by adolescents, ter, workshops are given which are designed to chance to make a career decision while still on adults, and the aged. address students' academic concerns and the undergraduate level and to prepare them needs. Professional counseling is provided to for graduate work. AT 301 enhance students" academic and personal Rarely is such an opportunity for an early Social and Group Process strategies and skills. Further, specific support career decision presented to a student without The focus of this course is on the understand- services are available to learning-disabled the loss of credits. At PCA all art therapy ing of how individuals function as members of students to assist them in meeting academic credits are counted toward the satisfaction of society, as well as the basic elements of group requirements. the graduation requirements. Art Therapy Con- dynamics. By helping the student deal directly The center administers the College's English centration students who discover they do not with group behavior, this course enables him placement tests to all incoming freshmen, and wish to commit themselves to service work or her to understand himself or herself and the provides to any student a variety of resources, will, nevertheless, find their art therapy work interactions of others better. such as tape-recording equipment, typewriters, beneficial in other art fields, particularly in a reference library, and a computer center. education, and in their own personal develop- AT 302 Although they may be referred to the center by ment. Theories and Techniques of Art Therapy

Studio or Liberal Arts instructors, students are Students who wish to enroll in the Art Therapy An introduction to the examination of types of also welcome to avail themselves freelv of program register for art therapy courses as mental and behavioral disorders as it pertains these resources and support services. studio electives. Students complete all require- to art therapy is presented, along with the gen- The staff of the Learning Resource Center ments in their chosen major department; the eral theory and techniques used with the vari- works to ensure that all students with learning B.F. A. or B.S. degree is awarded in the studio ous populations. disabilities have equal opportunity to partici- major, with concentration noted in art therapy. pate fully at PCA. Special support services are Interested students should request an interview AT 303 available, as well as academic and psychologi- with the Art Therapy director. Sherry Lyons; Clinical Aspects of Art Therapy cal counseling for these students. The staff the Liberal Arts Division can schedule A weekly class with an art therapist held at assists individual students in joint efforts to appointments. the Eastern Pennsylvania Psychiatric Institute meet their needs and to act as a liaison be- of the Medical College of Pennsylvania. This tween the students and their instructors. Infor- Faculty course presents a survey of the field of art mation related to a student's disability is used Sherry Lyons, Director therapy in practice through live interviews, to provide requested services and is otherwise Leah Freedman films, literature, and discussion. communicated only with the permission of the Ronald Hays student. Arthur Sendrow LA 483 Theory of Personality

This course is concerned with the study of personality, the patterns of behavior and pre- disposition that determine how a person will perceive, think, feel, and act. Psychoanalysis, behaviorism, humanism, and existentialism are among the theories explored.

AT 400 Senior Practieum

A field-experience placement is arranged to provide an opportunity for the student to be- come acquainted and work with a specific spe- cial population. This clinical practieum is heavily supervised by the Art Therapy faculty.

46 Education

Teacher Certification

The teaching of art offers opportunities for stu- dents to work in a profession that provides pos- sibilities for their own continued growth while they, in turn, provide for the aesthetic and creative experience of children and young adults. In preparing students for careers in education, PCA is committed to producing graduates who are "able to do" as well as "able to teach." To that end, the Education Depart- ment offers a competency-based program lead- ing to the Pennsylvania Instructional I Certifi- cate, qualifying the student to teach art (grades K-12).

The curriculum is designed to provide the stu- dent with both theoretical and practical course work as well as field experiences beginning in the sophomore year. Opportunities to teach in traditional and alternative settings, such as the Colleges multi-age Saturday School, mu- seum programs, special education, and adult and community education, prepare students for a wide variety of professional opportunities.

The faculty are all practicing artists who be- lieve that a sound personal studio experience is fundamental for effective teaching.

Senior Faculty Teacher Certification Special Program only) Students who hold bachelor's degrees enroll in TE 314 Practicum/Seminar (8 weeks Arlene Gostin, Chairperson the certification program as special students. 9 credits/semester: fall or spring Paul Adorno Prerequisites: TE 214, TE 215, TE 216, George Chapman Program requirements will be determined by TE 220, TE 313 Susan Rodriguez the student's qualifications. Upon review of a student's credentials, credit may be given for TE 414 Seminar David Tafler prior course work and job experience by ap- 1. 5 credits/semester: fall or spring University In-Service Teacher Education proval of the department. Special students nor- Prerequisites: TE 214, TE 215, TE 216. Network (UITEN) mallv complete the program in two semesters. TE 220, TE 313

In cooperation with the Office for Continuing Choice of: Teacher Certification with Studio Major Studies, the Education Department offers TE 999 Special Project graduate-level courses especially designed for In addition to meeting the requirements of a 1.5 credits/semester: fall or spring, junior or teachers at area schools. Courses are offered major Studio department, students seeking senior under the auspices of a consortium of eight teacher certification are required to meet GR 500 Research Methods course requirements in the Education Depart- regional institutions of higher learning called 1.5 credits/semester: fall or spring, junior or University In-Service Teacher Education Net- ment. These courses are to be registered as senior part of the elective portion of the Studio pro- work (UITEN). The credits accrued in these GR 501 Readings courses may be applied to Permanent Certifica- gram. All courses are one semester. The 1.5 credits/semester: fall or spring, junior or Equivalency, Master's recommended sequence of education courses tion, Master's Degree senior Degree at the discretion of the granting institu- is as follows: tion, and Master's Plus Thirty. For further in- To assure coordination between the major and formation, please call (215) 893-3123. Sophomore the Teacher Certification Program, it is strongly TE 214 Introduction to Visual Arts Education recommended that each student meet with his Undergraduate: Teacher Certification with 1.5 credits/semester: fall Education Department adviser each B.F.A. or B.S. Degree or her 215 Program Design TE semester prior to advance registration. Students are able to earn a teaching certificate 1.5 credits/semester: spring Students interested in teaching but not wishing while majoring in a Studio department and TE 220 Education Psychology to work toward the certificate may, with depart- working toward the B.F.A. or B.S. degree. By 1.5 credits/semester: fall or spring, sophomore ment permission, take courses on an elective enrolling in the Teacher Certification Program or junior basis. Students may also proceed through the in the sophomore year, a student may earn a Junior program at their own pace and complete the degree and a teaching certificate within the TE 216 Materials and Methods after graduation. four-year program. program 1.5 credits/semester: fall or spring TE 313 Saturday Practicum

3 credits/semester: fall or spring or fall senior Prerequisites: TE 214, TE 215, TE 216

47 Studio Requirements Students interested in Teacher Certification TE214 are advised to plan their programs carefully Introduction to Visual Arts Education All certification candidates must complete and if necessary be prepared to lighten their 3 hours, once a week three credits in two-dimensional Studio courses schedules by taking some of their course work 1.5 credits/semester: fall and spring if their major is in a three-dimensional area, during a summer at PCA or at another institu- Through school observations, the student has and vice versa. Also, one Studio course is re- tion with departmental approval. the opportunity to experience the various as- quired in Photography. pects of teaching in a variety of situations and Teacher Certification Special Program Included are teaching in public Liberal Arts Requirements environments. First Semester Credits and private schools (K-12), as well as By the end of the sophomore year, it is recom- TE214 1.5 credits 7.5 specialized and alternative teaching situations mended that the student complete LA 181, TE215 1.5 credits in museum education, early childhood educa- Child and Adolescent Development, plus one TE216 1.5 credits tion, special education (programs for handi- course in Sociology. TE220 1.5 credits capped and gifted children), higher education, TE414 1.5 credits adult education, and the teaching of basic Academic Requirements through the arts. Choice skills Students working toward certification are re- of: TE999 1.5 credits 1.5 quired to maintain a 3.0 average in certifica- GR500 1.5 credits TE215 tion course work. A grade of B is required in Program Design GR501 1.5 credits to be recommended TE 314 Practicum/Seminar 3 hours, once a week certification. Freshman students who have for 1.5 credits/ semester: fall and spring achieved a score of 500 on their verbal SAT First Semester Total Through the review of current literature, field may begin certification course work during trips, guest lecturers, discussion, and mini- their freshman year. Students will not be ad- Second Semester 3.0 teaching, students explore various educational mitted to the certification program who have TE313 9.0 philosophies and develop practical classroom not satisfactorily completed LA 110 B, Lan- TE314 curricula based upon prominent theories of guage and Expression. They may, however, learning and child development. begin certification course work as elective Second Semester Total 12.0 students. TE216 of how the Application for the Teacher Certification Following are several examples Studio Methods Program is coordinated Program Teacher Certification 3 hours, once a week Studio major: Required: with the 1.5 credits/semester: fall and spring application form and 120 appli- 1. Completed Through observation, planning, and participa- Fine Arts Major with cation fee. tion in media workshops, this course examines Teacher Certification 2. Statement of applicant's professional objec- the process of selecting material for effective Credits Sophomore Year tives and interest in being certified to teach classroom use with emphasis on means of les- 9.0 Major Studio art. son implementation. Teacher Certification 4.5 3. Two official transcripts from each under- Liberal Arts 12.0 graduate and graduate (if any) institution TE220 Junior Year Credits previously attended. Educational Psychology Major Studio 12.0 hours, once a week 4. Ten samples or slides representing studio 3 Teacher Certification 6.0 1.5 credits/semester: fall and spring experience. It is recommended that exam- Liberal Arts 12.0 ples of drawings or design be included. Various aspects of educational psychology are Senior Year Credits examined. These include cultural and family 5. Two recommendations from faculty mem- Major Studio 12.0 factors that influence learning, the expecta- bers, program advisers, former employer, Teacher Certification 10.5 by teacher behavior, techniques and/or other authority qualified to evaluate tions conveyed Liberal Arts 9.0 instruction, behaviorism, and creativity. the applicant's academic and studio of retrospective analysis performance. Emphasis is placed on Illustration Major with of each student's individual educational 6. Testaments or letters documenting teaching Teacher Certification experiences. experience, if any. Sophomore Year Credits Major Studio 18.0 TE313 Teacher Certification 3.0 Saturday Practicum/Seminar Studio Elective 0.0 4.5 hours, once a week Liberal Arts 12.0 1.5 hours, once a week credits/semester: fall and spring Junior Year Credits 3 Major Studio 16.0 Students are involved in all aspects of the Teacher Certification 6.0 Saturday School. They observe classroom in- Studio Elective 0.0 teraction, plan and teach lessons, and exhibit Liberal Arts 12.0 student work under the supervision of pro- artist-educators and a college Senior Year Credits fessional Major Studio 10.5 supervisor. Teacher Certification 12.0 Studio Elective 1.5 Liberal Arts 9.0

48 TE314 Practicum/Seminar 6 hours, 5 times a week for four or eight weeks 1.5 hours, once a week for four or eight weeks 4.5 or 9 credits/semester: fall and spring The student registers for the semester in two segments. The first is devoted to four or eight weeks of student teaching, four weeks at the elementary level and four at the secondary. The remainder of the semester is devoted to an intensive studio program. Students are super- vised bv cooperating teachers and College supervisors and meet for a seminar once each week during their practicum.

TE414 Seminar 3 hours, once a week 1.5 credits/semester: fall and spring As a culmination of work completed in the studio and field, this seminar focuses on pro- fessional practices and contemporary issues in education.

Master of Arts in Art Education Requirements for Master of Arts TE999 Graduate study at PCA offers students the op- Master of Arts is a 33-credit degree. The pro- Special Project portunity to pursue individually designed, in- gram consists of three components: the Studio 3—6 hours, once a week novative combinations of studio and visual Major (15 credits). Liberal Arts (6 credits), 1.5-3.0 credits/semester: fall and spring studies. Choosing from one of the College's and Graduate Studies (12 credits). Students design a project with the approval of major studio departments, students are able to 1 . Liberal Arts, 6 credits the department and work with an instructor to advanced studies in the studio with combine Graduate work in literature, aesthetics, art complete it. Special practicum experiences, in graduate studies and Liberal Arts. those history, philosophy, and psychology may development of visual aids, annotated bibliog- graduate components of the program culmi- The be pursued through course work or ap- raphies, research paper, special exhibitions, thesis project reflecting original inves- nate in a proved independent study. Any 500-level etc., provide students the opportunity to indi- design their studies to tigation. Students may Liberal Arts course may be taken to satisfy vidualize their learning. include an internship in a special-interest area, this requirment. Courses below the 500 as a museum or gallery. Upon graduation, such level must be authorized by the program GR500 students pursue careers as fine artists or Research Methods chairperson. teachers in research, media, arts administra- 1.5 hours, once a week 2. Studio Major, 15 credits tion, and design. work be taken 1.5 credits/semester: fall and spring With approval, studio may in any one of the College's nine major Emphasis is on problem solving pertinent to Faculty departments. the writing of research or funding proposals in Arlene Gostin, Chairperson 3. Graduate Studies, 12 credits the arts. Students are required to learn elemen- Fred Osbome Requirements are the courses listed and tary research design and investigative tech- Robert Sebastian acceptance of the thesis or visual project. niques before conducting a study or submitting David Tafler a grant proposal of their choosing. Dates of Application for the Master of Programs GR501 Arts and Teacher Certification Readings Application for admission to the Master of Arts be 1.5 hours, once a week and Teacher Certification Programs must submitted by 1.5 credits/semester: fall and spring completed and all credentials April 15 for admission in the succeeding sum- This seminar examines the social, economic, mer session and fall semester and by Novem- and cultural context of the artist in today's so- ber 15 for the succeeding spring semester. All ciety. Assumptions based on historical and credentials are to be submitted to the Admis- contemporary philosophies are questioned and sions Office of the College. critically evaluated. Specified readings and papers are course requirements.

49 Master of Arts Courses Interviews Transfer of Credits Students transferring from other graduate pro- All applicants for the Teacher Certification GR500 the Master of grams, or those having completed acceptable Program and all applicants for Research Methods elsewhere, may be Arts Program will be invited to the College for post-baccalaureate study 1.5 hours, once a week toward their an interview conducted by the Education allowed to transfer up to 6 credits semester: fall and spring these 1.5 credits/ Chairperson and the Director of Admissions. Master's Program. The acceptance of pertinent to evaluation. Emphasis is on problem solving Interviews are scheduled immediately after the credits is based on faculty the writing of research of funding proposals in deadline dates noted above, and each appli- of Arts the arts. Students are required to learn elemen- cant who has submitted all credentials will be Application for the Master tary research design and investigate techniques contacted by the Admissions Office to arrange Required: before conducting a study or submitting a grant an appointment. 1. Completed application form and application proposal of their choosing. Applicant must include a statement If you can take advantage of the interview op- fee. portfolio of describing plans for the Studio major on tion, you may present your work or GR501 If you cannot visit the the application form. studio work at that time. Readings College for the interview, please submit your brief, typewritten statement defining the 2. A 1.5 hours, once a week portfolio by the deadline. applicant's professional experience and 1.5 credits/semester: fall and spring For an application form, please call (215) 893- objectives. This seminar examines the social, economic, 3174, or write Graduate Admissions, PCA, 3. Two official transcripts of academic record and cultural context of the artist in today's so- Broad and Pine Streets, Philadelphia, PA for each undergraduate and graduate (if ciety. Assumptions based on historical and previously attended. 19102. any) institution contemporary philosophies are questioned and original studio 4. Ten samples or slides of critically evaluated. Specified readings and Academic Requirements concen- work. Portfolio should represent a papers are course requirements. All degree candidates must maintain a cumula- tration of work in the chosen major as well tive grade point average of 3.0 in course work as examples of drawings or design. GR505 regarded in good academic standing. Stu- to be 5. Three letters of recommendation from fac- Seminar will qualify for candidacy for the M.A. dents ulty, program advisers, art teacher super- 3 hours, once a week completion of half the re- upon satisfactory visors, and/or any other authority familiar 1.5 credits/semester: fall and spring quired course work and with the approval of appli- with and qualified to evaluate the To develop a critical approach toward the reali- the major studio and graduate departments. cant's academic and studio performance. zation of ideas. Using studio work as a point of pro- The completion of a candidate's resident departure, the student will be engaged in inde- of the gram does not guarantee the granting Teacher Certification Program pendent projects. Group discussions and indi- degree. Not only the academic record development Master's For program description, see page 47. vidual critiques will focus on the thesis is sub- of the candidate but the complete of concepts as they affect visual expression. review and approval by the stu- ject to final Application for the Teacher Certification The complete thesis dent's thesis committee. Program GR509 thesis com- must be approved by the student's Field Research anticipated date Required: mittee one month prior to the 3 or 6 hours, once a week 1. Completed application form and $20 appli- of graduation. 1.5 or 3.0 credits/semester: fall and spring cation fee. Students are permitted two opportunities to Beginning with a selected area of investigation, rostering 2. Statement of applicant's professional objec- develop a thesis or visual project by the student works on the acquisition of infor- receive tives and interest in being certified to teach GR 512 Thesis Proposal. Students who mation, the definition of scope, and the execu- will be discon- art. below a B the second semester tion of an idea that may be a one-time explora- from each; under- tinued in the program. 3. Two official transcripts tion or that may expand into a larger (thesis) (if any) institution graduate and graduate project. With faculty consultation, students Scheduling previously attended. may elect to plan and carry out an internship Students develop their program schedules with 4. Ten samples or slides representing studio in a specialized area of the arts. their academic adviser. Students may pursue experience. It is recommended that sam- course work full time (10.5 credit minimum), ples of drawings or design be included. GR510 with course offer- Proposal part time, day, or evening, 5. Two recommendations from faculty mem- Thesis must be com- week ings in the summer. The program bers, program advisers, former employer, 1.5 hours, once a spring pleted in five years. and/or other authority qualified to evaluate 1.5 credits/semester: fall and the applicant's academic and studio Seminar and directed individual study, the Prerequisite Requirements performance. product of which is a coherent, detailed, and a candidate must thesis proposal. Prerequisites: a In order to be admissible, 6. Testaments or letters documenting teaching researched equivalent. selected prior to entry, along hold a Bachelor's degree or experience, if any. topic must be topic field. visual arts with evidence of research in the Students not holding degrees in the Upon review of a student's credentials, credit Foundation can expect to roster 18 credits of may be given for prior course work and/or job depen- GR512 studies and 30 credits of Studio major, experience, by approval of the department. Project dent upon faculty review of their portfolio. Thesis Students who have received their B.F.A., B.S., 1.5-5.5 credits: fall and/or spring required. Those A Teaching Certificate is not or M.A. from PCA will not be required to pay independent and original Certificate (K-12) may The thesis represents who wish the Teaching the $20 application fee. inquiry into a theoretical or practical problem pursue it concurrently with the M.A. in the arts. The thesis may be visual but must include formal written support. The student develops and executes the thesis under the guidance of an adviser and thesis committee.

50 —

Continuing Studies

PCA's Continuing Studies Program is the Main Line Extension Summer Programs largest part-time studio program in the Dela- The Main Line Extension is in the J. Gardner Talent Program for Pre-College ware Valley, offering professional instruction Cassatt mansion on the property of the Upper New Students within a curriculum designed especially for Main Line Y in Berwyn (near Paoli). Pennsyl- students who work during the day or cannot vania. This program has been in existence The new talent program is a popular six-week study full time. Programs are offered at two since the spring of 1979. Both credit and non- summer program for students contemplating extensions as well as on the Center City cam- credit courses are available. art college and careers in art and design. The pus. Classes run both in the day and evenings, program consists of required basic classes in twelve months a year. In addition, there are Cherry Hill Program drawing, two-dimensional and three-dimen- several special programs during the summer, sional studies, and an art appreciation semi- The recently opened Cherry Hill Program is and a provision for part-time study in the Day nar. In addition, each student can select two housed in the Center for the Arts in southern College. electives according to his or her major inter- New Jersey. It is located in the Barclay School, ests. Members of the College's professional Winston Way, Cherry Hill, New Jersey. All Evening Program faculty teach the classes. The courses are non-credit. PCA offers an Associate in Arts degree which This is an opportunity to improve or start a Please call (215) 893-3160 for more informa- is designed through the Office for Continuing portfolio, talk with professional artists and de- tion about either program. Studies specifically for students who wish to signers about their careers, and actually find

is all Be- study part-time for a comprehensive, highly Part-Time Study in the Day College out what life at an art college about. professional preparation in the fields of adver- Special Students sides the intense daily experience in the tising, illustration, interior design, or painting. studio, there are films, trips, seminars, and Part-time study in the Day College is available In addition, any of more than one hundred other activities. on a limited basis. Special student application all the studio areas courses selected from major housing is available in the Col- forms are available in the Office for Continuing Supervised of the College can be taken individually Studies. This form must be completed and sub- lege's dormitory. through the department. mitted with a portfolio of work to the Office for offered range from introductory to Session The courses Continuing Studies. The application is re- College Summer Intro- advanced professional levels of study. viewed bv the Director of Continuing Studies PCA offers a six-week College Summer Session taken with no admis- ductory courses may be and the appropriate Day Department chairman. with courses drawn from the major studio sion requirement. For further information, please call (215) 893- areas, taught by faculty from those depart- Independent study is also available in upper- 3160. ments. Up to 9 credits may be earned in the level courses. program and may be transferred to other in-

There are separate catalogs available for the Special Events stitutions at their discretion.

Evening Program offered on the main campus In addition to its regular academic program, The program provides the opportunity for PCA and at the extensions, as well as special bro- the Office for Continuing Studies also presents students, students enrolled at other colleges, chures for all summer programs. Please refer special events, workshops, and weekend pro- teachers, and others to accelerate their educa- to these for specific listings and registration grams. These feature both traditional and in- tion or study a subject that would not otherwise procedures. For further information, please novative subjects taught by practitioners and be available to them.

call (215) 893-3160. professionals in an intensive format. Most Visiting artists, seminars, films, and trips com- workshops are non-credit. In the past, offerings plete the intensive schedule. Extensions have included maskmaking, sign painting, Please contact the Summer Programs Office at Studies Pro- holistic drawing, display-window design, PCA now offers the Continuing (215) 893-3160 for additional information. gram in two convenient locations on the Main batik, picture framing, and gilding, among Line and in Cherry Hill. Courses selected from others. The Saturday School the Continuing Studies Main Campus curricu- Of particular interest is the recently instituted An open enrollment, noncredit program of vi- lum are now available to residents of these advanced blacksmithing workshops held in sual studies is offered at PCA on weekends areas who wish to study the visual arts on a conjunction with the Yellin Foundation and during the fall and spring semesters for stu- professional level. named in honor of Samuel Yellin. Both an dents ages 6 to 80 plus. Staffed by professional alumnus and one-time faculty member, the Classes are small and run during the day, artist-teachers and student teachers, the Satur- nine months a year. late metalworker has been hailed as one of the evenings, and weekends, day School is under the direction of the Educa- leading craftsmen in the field. Workshop par- Like other part-time students, those at the ex- tion Department. Course offerings include ticipants are selected by portfolio and work in tensions are entitled to all the College's ser- Elementary Studio for children ages 6 to 11, a teams to design and forge decorative wrought- vices, including counseling, use of the library Junior High Workshop, and a course in Senior film iron pieces. Courses are led by leading con- and the job placement office, and special High Portfolio Development. Courses open to temporary master smiths, including Francis and lecture programs. adults and junior and senior high school stu- Whitaker and Donald Streeter. Workshops are dents are offered in the following areas: available for college credit if so desired. Painting Cartooning Printmaking Ceramics Photography Fibers Design Sculpture Drawing Jewelry Woodworking Performance The Saturday School has been an established tradition at the Philadelphia College of Art for thirty-six vears. For further information, call (215) 893-3290.

51 Enrichment Program

Cooperative Program with The Summer Illustration Workshop

Philadelphia College of Textiles and Philadelphia College of Art is offering a new To supplement the curriculum offered by each Science opportunity to experience the illustration field major department, the Faculty and Gallery ini-

An agreement between the Philadelphia Col- as it works in England and Europe, to be held tiate extracurricular enrichment. The following lege of Art and the Philadelphia College of at Brighton Polytechnic. The workshop in- is a list of guest lectures, workshops and pre- Textiles and Science permits a limited number cludes trips to London to visit with artists, il- sentations made throughout the 1983—84 of students in each institution to register for a lustrators, and art directors, as well as to enjoy academic year. maximum of 4 credits per semester at the sister the city's other leading attractions. Three institution without the payment of additional credits, transferable to PCA (or your home in- tuition. Students are limited to a total of 12 stitution). For more information, contact the exchange credits during their four-year enroll- Illustration Department. ment at the home institution. Registration is available on a selective basis for qualified stu- Foreign and Summer Study Programs

dents and is restricted to courses not offered at The Academies of Fine Arts in Florence and the home institution. Rome, Italy Interested students should apply to the Direc- The Fulbright-Hays Grants Program tor of Continuing Studies for additional infor- Parsons School of Design in Paris, France mation and registration materials. Skowhegan School of Painting and Sculpture in Maine Cooperative and Exchange Programs Tyler School of Art in Rome, Italy

is Office of the For those students who wish to vary their edu- Information available in the cational experience by studying in different Registrar. environments. PCA's exchange programs offer an opportunity to spend a semester or a year The Honors Program as a visiting student on the campus of another The College maintains an experimental honors art college. The following schools share ex- program for academically gifted students. In- change programs with PCA: formation about the program is available from

Atlanta College of Art the Dean of Academic Affairs. Center for Creative Studies, College of Art and Design Vermont Studio School Cleveland Institute of Art This unique program provides art students with The Cooper Union an intensive program of study in drawing, Kansas City Art Institute painting, and/or sculpture with prominent and Maryland Institute, College of Art distinguished faculty. Located in a traditional Massachusetts College of Art Vermont village, the school operates three-, Minneapolis College of Art and Design six-, and nine-week sessions in June, July, Nova Scotia College of Art and Design and August. Both beginning and advanced Otis Art Institute of Parsons School of Design students are encouraged to apply. The Vermont

Pennsylvania Academy of the Fine Arts Studio School is affiliated with Philadelphia Parsons School of Design College of Art, and PCA credit is granted for Pratt Institute work successfully completed there.

Rhode Island School of Design Each student is provided a studio space and San Francisco Art Institute his or her own living quarters. The school School of the Art Institute of Chicago exists to create a community of artists and stu- School of the Museum of Fine Arts dents who live, work, and study together to Tyler School of Art develop each participant's individual goals. Additional information and application forms are available from the office of the Registrar.

52 Architectural Studies Counseling and Career Center Workshops Fine Arts Program

Charles Dagit. Jr. Survival Skills for Artists Leo Model Foundation Award Fine Arts majors Architect, Partner, Dagit Savior Architects Personal $1,000 competition for Junior Kenneth Frampton Creative Blocks Jonathan Borofsky Author, Professor, Columbia University School of Coping with Depression Artist Architecture Stress: How to Handle It Tom Dan Edmund Bacon Career Artist Professor, University ofPennsylvania The Business of Being an Artist and/or Charles Guarino Venture with the Fred Koetter Designer: Collaborative New York Performance Artist Philadelphia Volunteer Lawyers for the Arts Architect, Fred Koetter Associates How to Set Up Your Own Studio Gallery Exhibitions John Hejduk Gallery Contracts and Agreements Dean, The Chanin School ofArchitecture, Pat Steir Prints Uncle Sam and the Artist Cooper Union Master of Arts Exhibition, 1970-85 Patents vs. Copyrights Emerging Viewpoints in Illustration by PCA Jorge Silvetti Surviving Graduation Alumni, 1970-1980 Professor, Architect, Harvard University Job Development and Search Seminars Department of Architectural Studies Student Graduate School of Design Career Support Group Exhibition Robert Geddes Annual Illustration ELY Awards Exhibition Architect, Partner, GBQC Education Department Photography/Film Department Senior Thesis Werner Seligman Oliver Franklin Exhibition School Architecture Dean, Syracuse University of Deputy City Representative for Arts and Culture Annual PCA Senior Show

Norman Rice Peter Solmssen Annual PCA Student Exhibition Architect President, Philadelphia College ofArt Memphis Design Harry Soviak Retrospective Thomas Schumacker George Richmond Virginia Alfred Edgar Yersin Prints Professor, Author, University of Executive Director, Private Industry Council Universal/Unique: A Survey of PCA Graphic- Peter Eisenman Bia Cunha Design since 1967 Partner, Architect, Eisenman Robertson Visiting Fulbright Fellow, Philadelphia College PCA Faculty Show Architects of Textiles and Science Albert Gold Retrospective Jerzy Rozenberg John Bradford Sculpture and Drawing Invitational Exhibition Filmmaker Painter, Neiv York City

Alberto Perez-Gomez Book Party for Susan Rodriguez Foundation Author, Director. Carleton University School of Author, "The Special Artists Handbook" Robinson Fredenthal Architecture Sculptor Kurt Forster Fibers Christina Nassif Director, Paul Getty Centerfor the History of J. M argot Rolf Soprano Humanities Art and the Artist, Faculty Member, Gerritt Rietveld Robert Venturi Academy, Amsterdam, the Netherlands Architect Cornelia Breitenbach Daniel Libeskind Professor ofArt and Fabric Design, University Architectural Department, Cranbrook Academy of California at Los Angeles ofArt Joan Livingston Artist, Interim Department Chairperson, Ceramics Cranbrook Academy ofArt, Bloomfield Hills, Betty Woodman Michigan Colorado Professor of Ceramics, University of Kristin Knell John Gill Department Chairperson, Textile Department, Professor of Ceramics, Kent State University Kunstgewerbeschule, Zurich, Switzerland Rick Hirsch Professor of Ceramics, Program in Artistry, Boston University

53 Graphic Design Illustration Metals Lectures presented by the department or in Edwarde Booth-Cliborn Joint symposium with the Program in Artisanry, cooperation with the Philadelphia Chapter of Critic Boston Univeristy, held at Haystack, Deer Isle, the American Institute of Graphic Arts: Charles Schmidt Maine April Greiman Painter, NASA Space Program Artist Symposium weekend, "Conversations," held at Graphic Designer Tim Hildebrandt the State University of New York, New Paltz, Richard Greenberg Illustrator New York Designer Bennett Graphic Gil Cohen Jamie Professor. Program in Artisanry, Harvey Lloyd Illustrator Enamelist and Boston University Photographer Gunnlauger Se Briem Ken Windsor Calligrapher Susan Hamlet Design Director, Progressive Architecture Metalsmith and Professor, Oklahoma State Jeff Seaver University Cambridge 7 Illustrator Architectural Design Robin Quigley Volunteer Lawyers for the Arts Jeweler and Metalsmith, Professor, Rhode Graphic Design workshops presented in 1984 Lecture on Copyrights, Contracts, and Island School ofDesign by design offices: Plagiarism Chermayeff Geismar Associates, New York Louis Mueller & CIGNA Annual Report/Illustrations Katz Wheeler Design, Philadelphia Artist, New York City, and Professor, Rhode RSVP Student Competition III Island School of Design Each year the department sponsors an on-site American Illustration Four seminar tour for senior students. Offices and Painting and Drawing studios in Philadelphia and New York who Industrial Design were: Walter Darby Bannard hosted visits in 1984 Carroll Gantz Painter and Critic Anspach, Grossman, Portugal, Inc. Black & Decker 212 Associates Sidney Goodman Barry Seelig Bonnell + Associates Painter Colgate Peter Bradford & Associates Clement Greenberg Merry Riehm CBS Broadcast Group Art Critic Chermayeff Geismar Associates Fisher-Price & Hilton Kramer Conde Nast Publications/Mademoiselle Bill Porter Art Critic, Editor Donovan & Greene General Motors Donald Kuspit Robert Gersin Associates E. Wittner Art Historian, Art Critic Gips + Balkind IBM Design Alice Neel Katz Wheeler Jack Lovewell Painter Willi Kunz Parker Brothers Malish + Piven Leon Polk-Smith Angela Pricola Valerie Pettis Painter Scholl Anthony Russell, Inc. Carter Radcliff Jack Morgan Works Poet and Critic Associates Shulton Vignelli Roger Shattuck Jonathon Taylor Tours: Writer, Critic, Cultural Historian Taylor Lock Tyler Offset Workshop, Temple University Sidney Tillim The Winchell Company Harry McVicker Painter, Art Critic, Teacher Curtis Paper Company Chairman, Industrial Design Society ofAmerica Marcia Tucker John C. Meyers Company Museum Director

Neil Welliver Painter Chien Chun Zheng Professor, Painter, Head of Huang/Shan, the Yellow Mountain, Artists Council in China

54 Photography/Film Printmaking Sculpture

Crossovers, An NEA- and Pennsylvania Council Seamus Carmichael Natalie Charcow of the Arts-funded lecture series to explore the Relief Printmaker, Illustrator Sculptor connections between photography and the mass Ireland Dr. Jean Henry media, presented the following lecturers during Ken Farley Art historian Limited 1983-84: Printer, Gemini Graphics Editions Joe Moss Mac Adams Los Angeles, California Sculptor Nan Golden Bernard Greenwald Winifred Lutz Jan Groover Professor, Bard College Sculptor Barbara Kruger Annandale-on-Hudson, New York Phil Simkin Esther Parada Victor Lasuchin Sculptor Gilles Peress Professor, Designer, West Chester University Michael Spano Lewis Alquist West Chester, Pennsylvania Sculptor The Sol Mednick Gallery, an endowed teaching Ron King gallery named in memory of the Department's Ronald Bladen Proprietor, Circle Press Sculptor first chairman, has shown the work of the Surrey, England following artists recently: William Barrett Elizabeth Pannett Larry Clark Sculptor Printmaker. Traveling Lecturer John Coplans Richard Fleischmen London, England Frank Gohlke Sculptor Andre Kertesz Claire Van Vliet Ann Chabandour Sonia Moskowitz Proprietor, Janus Press Sculptor Meridel Rubinstein West Burke, Vermont Michael Hayden Stephen Shore Fred Wessel Sculptor Henry Holmes Smith Professor, Hartford School ofArt York trips to galleries Rosalind Solomon Hartford, Connecticut New

CarlToth Martha Zelt Winogrand Special Series Events Garry Artist in Residence, Roswell Institute and Series Mediaworks, a film, video, and performance Tamarind Institute NEA Visiting Artist artist series now in its eighth year, has New Mexico Elmer Bischoff lectures, screenings, and presented Pat Steir Painter recently from the following performances Painter, New York City Jackie Winsor individuals, among others: Collaboration with the Printmaking Department Sculptor James Benning in screenprint edition Ken Baker Stan Brakhage Two-day workshop on water-based Critic George Griffin screenprinting processes held in the Pat Oleszko Ken Kobland Printmaking Department for secondary and Performance Artist David Moss college printmaking instructors, January 1985. Dennis Pies Eric Fischl Kathy Rose Painter Michael Snow Deborah Butterfield Bill Viola Sculptor Steina Vasulka Wood "Philadelphia Story" Show at The Workbench in New York City by PCA Woodworking students.

55 Student Services

The Student Services Division consists of a Campus Life Counseling and Career Center group of concerned professionals committed to The Office of Campus Life provides a variety The Counseling and Career Center provides a assisting the PCA student in reaching his or of services, programs, and activities to comple- wide variety of support programs to aid in the her goals. The staff feels a responsibility to ment the student's learning experience. development of the student in his or her career. offer students an opportunity for development in interpersonal, leadership, organizational, Residential Life Personal Counseling and communications skills that will serve the The Philadelphia College of Art has made a Frequently, students have concerns about their students on a personal and professional level strong commitment to providing a living/learn- emotional and social adjustment to college in the future. The Student Services Division ing environment. Fumess Hall is a historic life. Their concerns range the spectrum of per- consists of the following offices: Dean of Stu- remodeled building which houses approxi- sonal issues: relationships, identity, career dents, ACT 101 program, the Counseling and mately 180 students. The residence features goals, achievement, and roommates. To assist Career Center, Campus Life, the Registrar, three- and four-person apartments with sepa- students in dealing with these needs, free psy- Financial Aid, and Health Services. rate kitchen and bathroom facilities. The facil- chological counseling is available on an indi-

ity is located within the historic block of PCA vidual basis as well as from peer support

Student Services Departments and is within a one-block walk of all PCA fa- groups.

cilities. Students in need of psychiatric and long-term ACT 101 Program The College also provides housing facilities psychological counseling may consult one of Act 101 is a state-funded program which pro- through privately owned apartments. All stu- the staff counseling psychologists for assis- vides counseling, tutorial, and related support dents residing in these facilties, through the tance and advice on contacting resources in programs and services via a professional staff College, are entitled to all services provided the Philadelphia community. to those students accepted into the program. by the Office of Campus Life. Monthly workshops are also conducted to help Acceptance requirements include Pennsylvania All living environments are supervised by spe- students effectively deal with these personal, residence, below average high school prepara- cially selected resident advisers. Advisers are emotional, and social aspects of their college tion for college, and an adjusted gross family upper-class students, trained in peer counsel- adjustment. income at or below $15,000. Personal, ing and crisis intervention, to assist students academic, and financial counseling is offered, in their adjustment to college as well as life in Career Planning and Placement as well as Liberal Arts and Studio tutoring for the city. The College recognizes the students' increasing students experiencing academic difficulty. The entire residence program is supervised by concern for career planning and employment ACT 101 conducts a special six-week, required the director of Campus Life. Reporting to the following graduation, as well as the need for summer program that includes Liberal Arts director is the residence counselor, who assists temporary and part-time employment while and Studio courses. This pre-freshman pro- in counseling, staff and student supervision, enrolled. As one of its vital services, the Cen- gram is free of charge. New program students and the management of housing operations. ter provides career counseling, internship are assigned an 101 counselor who assists ACT experience, career and arts resources, and Students will receive a housing brochure out- students from admission through graduation. professional survival skills information to stu- lining all facilities and accommodations after dents throughout their PCA college careers. they are admitted to PCA. These career and job development services Freshmen from outside the Philadelphia area supplement the students' classroom and studio are guaranteed housing if the office receives instruction. their contracts by June 1. Non-commuting fre- The Center attracts approximately 1,000 full- shmen are required to live in College residence time, part-time, and free-lance positions each during their first year (exceptions will be made year for both students and alumni. In addition on an individual basis). to maintaining an active job bank, the Center The office also assists students in finding off- has encouraged employment recruiters to visit campus accommodations through its off-cam- the school and interview graduating seniors pus housing services. Early inquiries regarding and alumni. Firms and arts organizations from this service are strongly recommended. across the country contact the Center daily.

is guaranteed, students Student Activities While placement not and alumni gain information and employment The College annually sponsors a variety of pro- opportunities using the Center's resources. grams and activities to complement the aca- Within the first six months of graduation, 70 demic program. A sampling of the planned percent of students obtain employment. Al- programs includes the Friday Night Film though artists' and designers' salaries vary Series, dances and social activities, student considerably, PCA graduating seniors obtain talent shows, gallery and museum trips, and positions that are in the S9,000-|15,000 sports and physical fitness programs at the range. "Y." A majority of alumni and students take advan- All extracurricular and social activities are tage of the Center's services: career counsel- coordinated through the Arts Council and the ing, internship experiences, survival skills Office of Campus Life. Students have a major and job development seminars, career re- role in determining and implementing the na- sources and library, job listings, and credential ture of the student life program at PCA. file.

56 Student Regulations

Counseling and Career Center Workshops Registrar and Records Social Regulations

Survival Skills for Artists The Office of the Registrar develops and main- The College's regulations governing non-

Personal: tains all records and files relating to the stu- academic student conduct are intended to Creative Blocks dent's academic life at PCA. maintain a viable and orderly institutional soci- values Coping with Depression The Registrar coordinates all scheduling and ety, safeguard the particular and com- Stress: How to Handle It registration activities, as well as the reporting mon welfare of its student body, and promote Career: of grades, grade point averages, official trans- the best possible environment for professional The Business of Being an Artist and/or cripts, etc. study. Membership in the College community is regarded as a privilege, and the student is Designer: Collaborative Venture with the Phila- The Office of the Registrar also provides credit expected to exercise self-discipline and good delphia Volunteer Lawyers for the Arts counseling assistance to all students. Students judgment. By official registration, the student How to Set Up Your Own Studio may have their program of study reviewed and acknowledges the College's authority to define Gallery Contracts and Agreements a determination made as the particular courses and enforce standards of acceptable conduct. Uncle Sam and the Artist and number of credits needed in their respec- Patents vs. Copyrights tive major and Liberal Arts areas. This service Adjudication of alleged student misconduct is the Office of the of Surviving Graduation: is provided as a supplement to the assistance the responsibility of Dean Job Development and Search Seminars provided students through their academic ad- Students. A committee on campus standards, Career Support Group visers and departmental chairpersons. representing the student body, faculty, and administration, serves in an advisory capacity to the Dean. A complete reference to all rules Financial Aid International Student Advisement and procedures is contained in the current In recognition of a growing need for students In an effort to meet the special needs of the PCA code for student rights, responsibilities, and families to secure financial assistance, the international student, the Student Services and conduct. Philadelphia College of Art has long main- Division has developed a network of College College policy provides that a student may be tained a Financial Aid Office. While college personnel and offices to provide specialized required to withdraw from the College for psy- expenses are primarily the responsibility of services to students from abroad. These ser- chological/health reasons. A student who is the student and family, assistance from the vices are provided through the areas of Admis- withdrawn under this policy is one whose be- College and other sources is provided as a sions, the Learning Resource Center, the havior is assessed as sufficiently disturbed to supplement. Counseling and Career Center, the Office of necessitate his or her leaving the College com- Information on the application procedure, eligi- Campus Life, and the Dean of Students. munity. A detailed copy of the College policy blity, and financial aid package is detailed in Students are advised to contact the Office regarding emergency withdrawals may be ob- this catalog under the specific area of Financial of the Dean of Students when in need of tained from the Office of the Dean of Students Aid. Additional questions may be addressed assistance. or the Counseling and Career Center. directly to the Office of Financial Aid (see "Fi- nancial Aid" section). Student Safety Student Work The College has assigned security personnel to The College reserves the right to retain one or Health Services all its buildings to provide 24-hour protection. more examples of each student's work to be The College maintains a health service, open The College maintains a strict ID policy to en- added to its permanent collection of student weekdays throughout the academic year and sure the safety of students, faculty, and staff. staffed by a registered nurse. Additional medi- A limited escort service is provided for stu- cal needs and attention by a physician are pro- dents living in college residence facilities, College Liability vided by the Jefferson Hospital Family with the general campus area patrolled on a Medicine Associates. This service provides a regular basis. The College cannot be responsible for the loss complete range of physician's services to all of a student's personal property resulting from students enrolled on a full-time basis. Meal Service fire, theft, or any other cause. Personal insur- ance is recommended. Students are encouraged to see the College The College maintains a cafeteria that serves Work done in the studio under the supervision nurse to help evaluate illnesses and to discuss breakfast, lunch, and a light dinner. Food- of a faculty member is considered a part of the other health problems. She will aid in the con- vending machines are accessible at all times, educational program. Reasonable care will be tact of the on-call doctor if medical interven- both in 333 S. Broad Street and at the resi- exercised to protect assignments and projects, tion is needed. The Jefferson Family Medicine dence hall. Department is located in the new Thomas Jef- but the College cannot assume responsibility ferson University Hospital at 111 S. 11th Street, for loss or damage to student work stored or Suite 4130, a short walking distance from the exhibited on the premises. An exception to College. this policy is work included in a sponsored exhibit by the college department of exhibitions.

57 Academic Regulations

Terms of Enrollment Numbering System Repeat of Course

A student is enrolled full time if his or her The capital letters preceding the digits identify When a course previously failed is repeated courses, both studio and liberal arts, total 12 the department; e.g., LA indicates Liberal and a passing grade earned, both the failing or more semester hours. For graduate students, Arts. and repeat grades remain permanently re- credits constitute full- 10.5 or more semester The initial digit is an approximate indication corded. On request, the GPA is recomputed to time enrollment. of the level of the course; e.g., 100 indicates a exclude any penalty for the initial failure.

Full-time status is not required to maintain beginning course, 400 a course for the most Forms to request GPA recomputation are avail- enrollment in any undergraduate program. advanced students. Courses offered for gradu- able in the Office of the Registrar. level. The normal maximum credit load is 18 credits ate credit are on the 500 The second Pass-Fail Option per semester. Students wishing to enroll in digit indicates the subject category, as below: more than 18 credits per semester must receive LA 010 Literature In Liberal Arts courses, students may elect to approval of the Office of Academic Affairs. LA 020 be graded OP (Pass) or OF (Fail). Under this LA 030 Foreign Languages option, the student must declare his or her Class Attendance LA 040 Art History preference by submitting the appropriate form to the Office of the Registrar. Forms must be All students are expected to attend classes LA 050 submitted prior to the end of the third week of regularly and promptly and for the duration of LA 060 Social Studies class. To receive an OP grade, the letter as- the scheduled instructional time. Individual LA 070 Philosophy signed by the instructor must be a C or higher. instructors will decide the optimum time for LA 080 Science Under this option, the OP grade earns credit taking attendance and may penalize for LA 090 Interdisciplinary or unclassified toward graduation requirements. Neither the habitual lateness or absence. The third digit is an arbitrary designation of OP nor the OF is computed in the GPA. Stu- the particular course. A indicates first semes- dents may not register for more than 9 pass-fail Grading System ter; B indicates second semester; S indicates option credits during their tenure at PCA. A 4.0 a seminar in which the enrollment is limited to A- 3.75 approximately 15 students who must have an Change of Grade B + 3.5 overall grade point average (GPA) of at least If a student questions the correctness of a B 3.0 3.0. student should first discuss the mat- B- 2.75 grade, the ter with his or her instructor. If a satisfactory C + 2.5 Grade of Incomplete resolution is not reached with the instructor, c 2.0 An incomplete grade may be granted only in the chairperson of the department should be c- 1.75 extraordinary circumstances, either personal consulted. The student may, as a last resort, D + 1.5 or academic, which prevent the student from bring the matter to the attention of the Office D 1.0 completing coursework by the end of the of Academic Affairs. Any change of final grade F Failing 0.0 semester. In order to receive the grade of In- requested by a student must be approved by I Incomplete — complete, the student must obtain the approval the course instructor. The instructor must sub- WP Withdrawn Passing 0.0 of the course instructor prior to the conclusion mit the signed change of grade form to the WF Withdrawn Failing 0.0 of the semester. An Incomplete grade must be Office of the Registrar no later than the end of OP Optional Pass 0.0 removed by the end of the sixth week of the the semester following the one in which the OF Optional Fail 0.0 following semester or an F for the course is grade was given. assigned. Forms are available in the Office of Computing GPA the Registrar. Withdrawal from Course For each course: A student may withdraw from a course with a 1. List course, letter grade, grade point value, notation of WP (withdrawn passing) on his or and number of credits. her academic record until the last day of the 2. Multiply grade points X credits. sixth week of a semester. A grade of WP is not 3. Total the number of credits. included in the computation of the student's 4. Total the grade points X credits column. GPA. 5. Divide total grade points by total number of credits. After the sixth week, a grade of WF (withdrawn failing) will be recorded. A grade of WF is Course Grade Grade Credits Points X Point Credits also not included in the computation of the student's GPA. LA 110 Language & Expression B + 3.5 3.0 10.5 LA 140 Art History Survey W 0.0 0.0 0.0 Special note: A student who withdraws from a FP 100 Drawing A 4.0 3.0 12.0 course after the tuition refund period is not eligible for a refund. FP 120 2-D Design I 0.0 0.0 0.0 PT 100 Freshman Painting F 0.0 1.5 0.0 FP 190 3-D Design C + 2.5 3.0 7.5

30.0 * 10.5 = 2.857

58 Leave of Absence Dismissal Change of Major

A leave is granted for one or two semesters at It is the College's prerogative to dismiss a stu- Students may request a change of major the discretion of the department chairperson. dent for stated cause: through the Office of the Registrar. Students A student who has been granted a leave of ab- 1. Failure to maintain a cumulative GPA of are advised to initiate the change of major peti- sence may pre-register, in person, and should 2.0(C). tion prior to registration for the upcoming consult the academic calendar for pre-registra- 2. Failure to resolve academic probationary semester. The petition requires the approval of tion dates. A student who remains absent past requirements as specified by the Academic the appropriate chairpersons of the former and the date of expected return must apply for Review Committee. the new departments. readmission to the College. leave of absence 3. Standards A The Campus Committee may Change ol major forms are available in the or for may be requested through the Office of the recommend suspension expulsion Office of the Registrar. After completion of a Registrar. extension of the leave student conduct considered unacceptable An may change of major, students are advised to review be requested for an additional one or two at the College. their degree program requirements with a semesters. Students on academic probation who have credit counselor in the Office of the Registrar. failed to meet their GPA requirement by the Withdrawal from the College end of the term but who are continued on Transfer Credits student withdraw consecutive A may at any time during the academic probation for a second Transfer applicants may receive credit for academic initiating official will at year by an with- semester be dismissed the conclusion courses taken at other accredited institutions drawal with the Office of the if Registrar. Clear- of the second semester they have failed to fhat are similar in content, purpose, and stan- ance must be received from the Office of meet the GPA specified by the Academic Re- dards to those offered at the Philadelphia Col- Affairs, the Business Office, view Committee. Academic the lege of Art. For credit to be granted, official Library, and the major department chairper- Such students will not be considered for re- transcripts of all previous college study must son. admission before the end of one full academic be presented along with a current catalog of

Withdrawal is official when the student re- year. Seniors who are placed on academic pro- that institution. A minimum grade of C is re- ceives a written notification from the Registrar. bation at the end of the first semester may be quired for courses presented for transfer credit.

A student who withdraws from the College with reinstated after one semester of probation. The evaluation of credit is made by the Liberal a semester or cumulative GPA of less than 2.0 Arts and Studio major department chairpersons (C) will be recorded as "withdrawn not in good Readmission in consultation with the Office of the Registrar. academic standing." Written appeal for reinstatement as a degree The evaluation of studio transfer credit for

candidate shold be addressed to the Office of transfer freshmen is deferred until the student Academic Probation the Registrar well in advance of the semester enters his or her sophomore year. The evalua-

If a student's cumulative GPA for a semester is for which the student desires to attend. Appro- tion is then conducted by the chairperson of below 2.0 (C), he or she is automatically priate departmental chairpersons and the Busi- the student's studio major department. placed on academic probation and is required ness Office must endorse the readmission prior to attain at least a 2.0 cumulative GPA in the to any registration process. following semester. This requirement may be set higher by the Academic Review Committee depending on the student's overall record. In- adequate academic performance in any one semester may be cause for dismissal. If a stu- dent fails to comply with the terms of academic probation, he or she may be dismissed from the College. Additional requirements may be made by the committee for students who have failed required Liberal Arts courses, i.e., Lib- eral Arts 108, 109, 109B, 110A, HOB, 140A, MOB.

Notations concerning academic probation are entered on the student's permanent record.

59 Access to Student Records As such, all students of the Philadelphia Col- E. The permanent record maintained by the lege of Art have the following rights with re- College will consist of: In 1974, the Congress of the United States gard to educational records maintained by the enacted the Family Educational Rights and 1. directory information as noted above College: Privacy Act, Public Law 93-380, as amended, 2. application for admission setting out requirements designed to protect A. The right to review and make copies of 3. applicant's secondary school records the privacy of students. Specifically, the statue documents in educational records which 4. cumulative PCA records of grades, governs (1) access to records maintained by are maintained by the College. These re- credits, grade point average, and certain educational institutions and agencies, cords generally include all records of a academic actions and (2) the release of such records. In brief, personally identifiable nature; however, 5. correspondence (or copies thereof) re: the statute provides that such institutions must they exclude the financial records of par- admission, enrollment, registration, provide students access to official records di- ents and confidential letters and statements probation rectly related to themselves and an opportunity of recommendation received prior to June 6. student petitions for a hearing to challenge such records; that 1, 1975. 7. letters of reference/recommendation institutions must obtain the written consent of B. Records which, while an individual has dated after January 1, 1975 the student before releasing personally identifi- been a student at the College, have been 8. disciplinary actions able data from records to other than specified created or maintained by a physician, psy- 9. departmental appraisals and evaluations exceptions; and that students must be notified chiatrist, psychologist, or other recognized of student progress of these rights. professional or para-professional, are not F. The permanent records of the College do available for review; however, the student not include:

does have the right to select a physician or 1. parents' and students' confidential finan- other appropriate professional, at personal cial documents expense, to review these records on the 2. counseling psychologists' files

student's behalf. 3. Health Office files C. College educational records are maintained 4. faculty and staff memoranda/files re- by; tained for personal/professional use

1. the Office of the Registrar G. Requests to inspect and review records may 2. the Office of the Dean of Students be made by completing an "access re- 3. the Financial Aid Office quest—educational records," which is 4. the Fiscal Affairs Division available in the Office of the Registrar and/ 5. the Office of Continuing Studies or the Office of the Dean of Students be- 6. some educational records may also be tween the hours of 10:00 a.m. and 4:00 maintained by the Dean of Academic p.m. Copies of available records may be Affairs, Academic Major Departments, made for 250 for each sheet at the time the the Learning Skills Center, and the student reviews the files.

ACT 101 Office. H. If a student believes any information in the

D. The College may not generally release any file is inaccurate or misleading, that indi- information outside the College which is vidual may request, in writing, the custo- maintained in educational records without dian of the record to amend, delete, or prior consent or waiver. However, the Col- otherwise modify the objectionable mate-

lege does have the right to release the fol- rial. If said request is denied, the student lowing directory-type information: may request that a hearing be held to fur-

1. name ther pursue the request. At this hearing, 2. address the student may be represented by a person

3. telephone listing of his or her choice, if so desired. If after 4. date and place of birth the hearing the request to amend is again 5. major field of study denied by the College, the student has the 6. participation in officially recognized right to place in the file a statement or activities other explanatory document, provided that 7. dates of attendance such statements or documents relate: solely 8. degrees and awards received to the disputed information. 9. the most recent previous educational institution attended by the student

If a student does not wish any of this infor- mation made public, either in a directory of students or in any other manner, the stu- dent must inform the Office of the Regis- trar— no later than the end of the second week of classes each semester, —of the information not to be released.

60 If a student believes that any of his or her rights hereunder have been violated by the College, he or she should make such facts known to the Dean of Students in writing. If the Dean of Students does not resolve the matter and the student still feels that his or her rights have been violated, he or she may so inform the Department of Edu- cation in writing.

Release of information from permanent records to outside parties requires the stu- dent's explicit consent. Those exceptions which do not require the student's consent are:

1. obligatory cooperation with police ac- tion and litigation of criminality 2. compilation of general enrollment data for reports required by U.S. Govern- ment and Commonwealth of Pennsyl- vania authorities 3. participatory information-sharing with educational service associations such as the College Scholarship Service, the American Council on Education, and the Union of Independent Colleges of Art 4. information about an individual student in the event of a personal emergency

which is judged to threaten the health/ safety of that student 5. compliance with judicial orders and subpoenas 6. response to inquiries by parents of de- pendent students (see section K)

7. reference by appropriate Philadelphia College of Art faculty and professional staff

Any release of information as outlined above which identifies an individual stu- dent and requires that student's consent will be logged in his or her permanent record.

As provided by the act, the Office of the Dean of Students will respond to valid re- quests by parents of dependent students for grades and related cumulative informa- tion. Although the student's consent is not required, he or she will be informed that such a request has been made.

A dependent student is defined as one who is declared a dependent by his or her par- ents for income-tax purposes. The College, however, will continue to mail semester grade reports and actual transcripts of re- cords directly to the student at his or her permanent address.

61 .

Admissions

The Philadelphia College of Art selects its stu- Portfolio Acceptance dent body after a careful evaluation of a variety The portfolio should describe the applicant as To be accepted to this program students must of credentials. Foremost, a candidate must a visual person. There should be twelve pieces meet the following criteria: show a strong commitment to the visual arts of original work completed in the past year. 1. Though not academically acceptable under and should have a strong desire to be educated Work should represent the following: normal admission policies, they demon- in the Liberal Arts as well. 1. Six drawings directly from objects (still strate potential for success to PCA. Philadelphia College of Art gives equal con- lifes, figures) 2. Have an adjusted family income at or below sideration to all applicants for admission and 2. Three examples of two-dimensional design $15,000. financial aid, regardless of race, color, sex, projects 3. Be residents of Pennsylvania. religion, national or ethnic origins, or 3. Three examples in color If you think you meet these criteria and wish handicaps. 4. Sketchbook Although not required, — a to be considered for the ACT 101 program, sketchbook is strongly recommended. please check the ACT 101 box on the Admis- Admission Calendar 5. Statement of purpose (100 words) sions Application. Feb 1 Recommended date for freshman Optional — Work in photography, fibers, A financial eligibility form will be sent for the application to be filed ceramics, sculpture, etc. student to return to the Financial Aid Office. Feb 15 Deadline for filing Financial Aid form Portfolio Submission by Mail with College Scholarship Service Early Admission 1 35mm slides only. Mar 1 Recommended date for transfer PCA will accept applications from qualified 2. Each slide should be labeled with name applications high school juniors for entrance as freshmen and address. May 1 Deadline for $100 tuition deposit in September provided either of the following 3. Slides should be submitted in an 8V2 X (non-refundable) conditions is met: 11" slide sleeve. 1. By taking an overload during the junior Jun 1 Deadline for 100 housing deposit $ 4. Place a dot in the lower right-hand corner (non-refundable) year or summer courses, the applicant is of each slide. able to complete high school diploma credit 5. Enclose a stamped, self-addressed en- Admission Procedures requirements and receive the diploma be- velope for return. fore fall enrollment; or The Admissions Office accepts applications on The Admissions Office cannot be respon- 2. Under written agreement, the candidate's a rolling basis. Within four to six weeks of re- sible for loss or damage of work sent by high school authorities grant the applicant ceipt of an application, a student will be mail. a high school diploma upon completion of notified of an admission decision. If the file is the freshman year at PCA. incomplete, the applicant will be notified of Interview missing credentials. Due to the large number Though not required, we strongly recommend Deferred Admission of applications, the Admissions Office will an interview with or without portfolio. Inter- PCA will accept applications from candidates close a file if the student does not respond to views are available Monday through Friday, who plan a year of activities, or travel notice of missing credentials. work, 9—4 p.m. The Admissions Office will also be between high school and college and who, open the first Saturday of each month by Freshman Admission Requirements therefore, wish to enter college one full year appointment only. after graduation from high school. A brief note Applicants to the freshman class must graduate Call (215) 893-3174 or write Admissions explaining the deferment should be attached from an accredited high school and have taken Office, Broad and Pine Streets, Philadelphia, to the application. Deferred applicants should an appropriate distribution of high school sub- PA 19102, to schedule an appointment. follow procedures listed in this catalog. A deci- jects, including four (4) years of English. A sion on the deferred application will be ten- minimum of two years of art and design are Additional Support Options dered when the file is complete. recommended. 1. Sketchbook Any applicant offered admission to the current Applicants not holding a regular high school 2. Supplemental portfolio of work in one con- September freshmen class who wishes to defer diploma may qualify for admission in the fol- centrated area enrollment until the following September may lowing ways: 3. Creative writings also request this consideration. Deferred can- 1. GED (General Education Diploma) tests 4. Achievement tests (CEEB) didates will be required to submit a $100 en- through the Department of Public 5. Evidence of work in music, dance, drama rollment deposit to guarantee their place in Instruction. next year's class. 2. CLEP College Level Examination Program, ACT 101 Program administered monthly through the testing 101 is a state-funded program that pro- Waiver of Application Fee centers of most major universities. ACT vides various support services via a profes- PCA will waive the application fee in cases of sional staff of five people. services extreme family financial need. A verification Freshman Applicants Should Submit the The Following: provided include: of same is required from a high school gui- 1. Counseling personal, academic, career, dance counselor, two-year college counselor, 1. High school transcript — and financial. Each new student is assigned or other authorized personnel. 2. Portfolio an ACT 101 counselor who will assist the 3. CEEB Scholastic Aptitude Test (SAT) or student from admission through graduation. Transfer Admission the American College Test (ACT) 2. Tutoring—students experiencing difficulty A student who has enrolled in a college-level 4. One letter of recommendation in their Liberal Arts or Studio courses may program and completed more than twelve (12) Optional — An applicant may request a per- receive tutoring free of charge through the hours of course work will be considered a sonal interview and may provide additional ACT 101 tutorial program. Typically, tutors transfer student. Admission decisions will be support materials if he or she feels they are junior or senior students and/or art col- made on a rolling basis. Students will be would assist his or her application. lege graduates. notified within four (4) weeks of completed 3. Special required summer program for studio application.* and academic courses free of charge.

62 Veterans Advance Standing Transfer Portfolio

As an accredited degree-granting institution, Sophomore level: Applicant must have a mini- 1. Applicants without extensive studio experi- the College is approved by the Veterans Ad- mum of twenty-one (21) hours in studio credits. ence should follow instructions for freshman ministration. Information about education Junior level: Applicant must have a minimum portfolio. benefits may be obtained from any VA office. of forty-two (42) hours in studio credits. 2. Advanced-standing applicants should pre- sent portfolio demonstrating basic Placement is based on credits and evaluation a two-dimensional Special Student Status of the portfolio. The chairperson of the depart- abilities —drawing, and three-dimensional design as well as com- Undergraduate enrollment in the day college ment to which the student applies makes the — petence and preparation in the area of in- is usually reserved for matriculated students final decision. tended major. pursuing a baccalaureate degree. However, Note: for Studio credits, two (2) contact hours 3. For mailing the portfolio, follow the direc- Special Students can be accommodated on a equal one credit. space-available basis for credit or audit regis- tions on page 62. tration in the day college. Students wishing to Three Year Transfer Transfer Interviews apply for non-matriculated (Special Student) Students must have twenty-four (24) hours in status in the day college should submit an ap- April 1 is the deadline for transfer applicants Liberal Arts and have a clear understanding of plication to the Continuing Studies Office (see who wish an in-person portfolio review. No his or her goals in the visual arts. Under this page 51). interviews will be possible after May 1. In most program, students take the Foundation year departments interviews are scheduled when all and Sophomore studios at the same time. It is Conditional Admission credentials are on file. a demanding program and requires a very ma- Offers of admission may specify one or more of ture student. the following conditions: Additional Information If approved by both Foundation and major de- 1. Successful completion of PCA's Summer partment chairpersons, the transfer student Pre-Freshman Enrichment Program. This Advanced Placement Examination may attain junior status at the start of his or condition is made when the portfolio review PCA awards three credits toward the Liberal her second year. indicates that additional studio preparation Arts requirements for a score of 3 or better in anv CEEB Advanced Placement examination is necessary to ensure a student's success Transfer from PCA's Continuing Studies in the Foundation curriculum. The Pre- Program on an academic subject. Freshman Enrichment Program includes The following courses will not transfer: studies in drawing, two-dimensional de- College Level Examination Placement 1. Drawing FP105E sign, and three-dimensional design, as well (CLEP) Program 2. Color and Design FP105E as several elective courses. Classes are Credit will be allowed toward the PCA Liberal 3. Form Study FP109E scheduled for a six-week session, thirty Arts requirement for a score of 50 or better on 4. History of Art and Culture hours of instruction per week. Portfolio re- CLEP subject examinations. This allowance Advanced Continuing Studies courses will view after completion is required. is only for those applicants who have not been transfer as elective credit. 2. Successful completion of PCA's ACT 101 enrolled in school or college for over two years. Academic and Studio Workshop. This re- ' Transfer Admission Requirements quirement is made when the Admissions Foreign Student Applications Committee determines that additional Transfer students should submit the following: Because of the lengthy procedures and exten- scholastic training as well as studio prepa- 1. Portfolio sive time needed to receive and evaluate cre- ration is necessary. The program involves 2. Transcripts of all previous college experi- dentials from overseas, foreign applicants workshops in reading and writing skills ence and a listing of courses that will be should apply well in advance of desired admis- and studio course work. For the past four completed before entrance into PCA. sion. summers, this workshop has been funded 3. Catalog or other publication describing Foreign applicants whose native language is by the Commonwealth of Pennsylvania's course work recorded and credit assignment other than English are required to take the Higher Education Equal Opportunity Act. for studio work. Test of English as a Foreign Language 3. Academic Probation. Requires achievement 3. High school transcript (not required if the (TOEFL). If TOEFL scores are acceptable, the of a C (2.0) grade point average at the end applicant holds a bachelor's degree). College will send the necessary forms for com- of the freshman year in order to be pro- 5. Advanced-standing and three-year transfer pleting application. All foreign transcripts and moted to the second-year level. applicants must present a written statement other documents must be certified by an em- 4. Successful completion of an English course of purpose outlining their objectives in fu- bassy, legation, or consular officer of the during the summer. ture art education. U.S.A. 6. Advanced-standing and three-year transfer has no financial aid for students applicants must indicate the one The College are not U.S. citizens. Foreign students department for which they wish considera- who file proof of their ability to support them- tion. must selves from their own financial resources. 7. Transfer applicants anticipating freshman or three-year status may elect to complete The immigration forms necessary for student any of the self-presentation options listed visas will be completed by the college only on page 62. after an applicant has accepted an offer of ad- mission. This school is authorized under fed- eral law to enroll nonimmigrant alien students.

63 Tuition & Expenses

Undergraduate Tuition and Fee9 Tuition Payments and Financial

Annual tuition is charged to all full-time Responsibility

undergraduate students, payable one-half each Payment in full for each semester billing is semester. Full-time students carry a minimum required before students may attend classes. of 12 credits per semester and may carry up to The College participates in various loan plans 18 credits without incurring additional through local banks and agencies. Details are charges. Excess credits are subject to addi- available from the Financial Aid Office at tional charges at the standard semester credit 893-3181. rate. Permission of the Dean of Af- Academic Students are not permitted to register or fairs is required for a student to carry more receive grades and transcripts if there is an than 18 credits in one semester. In addition to outstanding financial obligation, including the annual tuition charge, all students regis- overdue tuition, fees, loans, or library dues. tered for 12 credits or more are required to pay The student personally, and the student's par- an annual general student fee. The general ents if the student has not attained indepen- student fee is applied toward the cost of library dent adult status, must assume full obligation facilities, studio and laboratory operations, for any and all College charges levied. maintenance of physical plant, orientation, Any questions concerning payment of tuition student activities, and special services, includ- and outstanding balances may be directed to ing health services, placement, and registra- the Office of the Vice President for Administra- tion. The annual general student fee is not re- tion and Finance at (215) 893-3144. fundable. Students registering for less than 12 credits are charged per credit at the semester Annual Undergraduate Expense Budget credit rate of $290 per credit, which includes a pro-rated portion of the general student fee. Resident Commuting Student There are no other mandatory course fees or Student Tuition and Fees $ 6,900 charges except for certain deposits and the $6,900 (12—18 semester credit hours) cost of expendable materials in selected studio Room $ 2,100 classes. Reservation deposits for housing and $ 600 Board (student's expense tuition are credited to the student's bill and for meals, etc.) are not refundable. $ 800 $ 600 Art Supplies and Books $ 900 $ 900 Schedule of Annual Undergraduate Transportation and Miscellaneous $ 300 $ 500 Charges and Fees Estimated Annual Expenses $11,000 $9,500 Tuition $6,500.00 Tuition Refund Policy General Student Fee $ 400.00 Tuition per credit $ 290.00 The following tuition refund policy is in effect. Housing $2,100.00 For withdrawal

Tuition Reservation Deposit $ 100.00 Prior to first class 100% refund Housing Reservation Deposit $ 100.00 Until end of second week 80% refund Housing Damage Deposit $ 200.00 During third week 40% refund (refundable) After end of third week 0% refund

A student required to withdraw for disciplinary Graduate Tuition Fees and reasons will not be entitled to a tuition refund. Full-time graduate students (10.5 credits or Students' residence apartment rent, general more) pay the standard annual tuition of fees, and other charges are not refundable. $6,500.00 per year the plus general student An appeals process exists for students and par- fee. Teacher certification special students are ents who feel that individual circumstances considered full time 10.5 at credits. General warrant exception from this policy. Appeals student fee charges are the same for graduate should be submitted to the Office of the Dean and undergraduate students. Tuition for part- dI Students. time graduate studies is $330.00 per semester credit for 10 credits or less including the gen- eral student fee. Students who continue thesis- only study after completing their designated course work must register for a minimum of 1.5 credits per semester to maintain continuous registration.

Schedule of Annual Graduate Charges and Fees Tuition $6,500.00 General Student Fee $ 400.00 Tuition per credit $ 330.00

64 Financial Aid

College expenses are the responsibility of the Financial Aid Package State-Administered family- Financial assistance from the College The amount of aid offered by the Financial Financial Aid Programs and other sources is a supplement to the efforts Aid Office is determined by the applicant's of the student and his or her family. Financial unmet financial need: Financial need is deter- Pennsylvania Higher Education Assistance aid can be classified in these categories: schol- mined by subtracting financial resources (Pell Agency (PHEAA) arships or grants; loans; and part-time work. grant, state grant, family contribution, guaran- All permanent residents of Pennsylvania are teed student loan) from the educational budget. expected to make application for a PHEAA

Application Procedure The resulting need is usually met by a combi- grant. Application is made by submitting a To apply for PCA financial aid, applicants must nation of awards called the "financial aid 1985-87 PHEAA grant application in addition submit a completed 1985-87 Financial Aid package." to the Financial Aid Form. PHEAA grant ap- Form (FAF) to the College Scholarship Service plications must be sent to PHEAA in Harris- (CSS), Princeton, New Jersey. The Financial College-Administered burg no later than May 1. Applications are

Aid Form is available from high school gui- Financial Aid Programs available from high school guidance counselors dance counselors or college financial aid or college financial aid officers. offices. National Direct Student Loan (INDSL) Other State Grant Programs The College's financial aid funds are limited When a student is awarded NDSL funds from and early application is essential. Therefore, the College, repayment of the principal and If you are a permanent resident of either Con- your Financial Aid Form should be mailed to interest does not begin until six months after necticut, Massachusetts. Rhode Island. Ohio, the CSS no later than February 15. graduation. The rate of interest is 5%. De- Vermont, or New Jersey, you must apply for agency of your Financial aid decisions are made separately pending on the total amount borrowed, a stu- funding from the state grant grant programs from admission decisions. Applicants for finan- dent may take up to ten years to fully repay home state. Each of these state that submit that particular state's cial aid should not wait until they have been this loan to the College. require you the 1985-87 Financial Aid Form. offered admission to the College to apply for version of applications are available from the PCA aid. Admission and financial aid applica- CoUege Work-Study Program (CWSP) These Financial Aid Office. If you have completed tions should be made simultaneously. Once The CWS Program provides jobs for students appropriate state version of the Financial an applicant has been offered admission to who need financial aid and who must earn a the Form, you will not need to fill out an addi- PCA, his or her name is forwarded to the Fi- part of their education expenses. Students who Aid tional state grant application. CSS will forward nancial Aid Office. If the CSS Financial Aid are awarded work-study funds will be placed the information on your Financial Aid Form to Form has been received by the College, the in various jobs in the departments within the your state grant agency. student will be notified of any financial aid College. CWS students receive a biweekly funds that have been awarded by the College paycheck for the hours worked. Federally Administered within two weeks after being offered admission Financial Aid Programs to PCA. Supplemental Educational Opportunity Grant (SEOG) Pell Grant Eligibility These grant funds, which require no repayment All applicants for financial aid are required to If a student has already earned a bachelor's obligation, are awarded by the Financial Aid apply for this federal grant program. If you degree in any field, he or she is ineligible for Office to students with the greatest financial have submitted a completed 1985-87 Finan- financial aid. Students enrolled only for need. cial Aid Form, there is no need to submit a teacher certification are also ineligible. Only separate Pell Grant application. CSS will for- matriculated, full-time undergraduate day stu- PCA Grant-in-Aid ward your information directly to the Pell Grant dents may receive financial assistance from repayment obliga- These grant funds, with no program. College. the tion, are allocated by the College to supple- All financial aid funds administered by the ment all other financial aid programs. Partial Guaranteed Student Loan (GSL) Philadelphia College of Art are awarded on funding for this program is provided by en- Every matriculated student is eligible to apply the basis of demonstrated financial need and dowed scholarships for students with demon- for a Guaranteed Student Loan. The interest the availability of funds. Preference is given, strated financial need. For the current rate is 87c and repayment does not start until in the case of new students, to those who dem- academic year, the College has provided over six months after graduation. A dependent stu- onstrate outstanding promise of success in $775,000 for the grand-in-aid program. dent may borrow up to $2,500 per academic PCA's curriculum. However, any applicant year, not to exceed an aggregate amount of who applies before the published deadline will $12,500. Applications for a GSL are available also be given priority. College-administered at most banks and credit unions. financial aid funds will not be used to replace grants for which a student is federal or state Renewal Application eligible but who fails to complete the required aid are awarded for an academic applications. College funds year (two semesters) and must be renewed an- nually by formal application. A student receiv- ing aid must maintain at least a 2.0 (C) grade point average for continuation of funding. The College reserves the right to terminate financial assistance at the end of the fall semester if the student's grade point average is below the level required for eligibility.

65 )

Financial Aid for Currently Financial Aid for Graduate Jacob and Gertrude Arronson Enrolled and Former Returning Students Scholarship Competition Students PCA financial aid to graduate students consists Enrolled students or former students consider- of assistantships and grants-in-aid. To be con- The Philadelphia College of Art will award ing readmission who are applying for PCA sidered, a student must complete a Graduate four entering foundation year freshmen the funds must: and Professional School Financial Aid Service Jacob and Gertrude Arronson Scholarship of 1. Submit a 1985-87 Financial Aid Form (GAPSFAS) form, which can be obtained from $4,000. The Arronson scholars will be selected (FAF) to the College Scholarship Service in the PCA Financial Aid Office or the College on the basis of outstanding artistic and Princeton, New Jersey, no later than March Scholarship Service, Princeton, New Jersey. academic performance and for their promise fine artists, 1. The application deadline is April 15 for fall as future designers, or craftsmen. 2. Complete a 1985-87 PCA Financial Aid and November 15 for spring. Students with Application. assistantships must maintain a B average and Application Requirements

3. Complete a 1985-87 PHEAA Grant appli- enroll for 10 credits per semester. The competition is open to all high school cation (out-of-state residents apply with Students are also eligible to apply for a seniors who have shown a commitment to the their state version of the FAF). Guaranteed Student Loan (GSL). Eligible stu- visual arts and a strong academic record. Stu- The processed FAF and PCA Financial Aid dents can borrow up to $5,000 per academic dents applying for the competition should have application must be received by the Financial year, up to an aggregate amount of 825,000 outstanding portfolios and rank in the top 25 of their Aid Office by April 30. Late applications will (which includes all undergraduate loans). Ap- percent class. be processed on a funds available basis. plication forms can be obtained from local Aid awards are normally limited to a maximum banks and credit unions. Application Procedure of eight semesters (four academic years). Stu- Students enrolling for the Teacher Certification To enter the Arronson Competition, students dents who fail to complete the necessary Program who have earned a master's or bac- must make formal application to the Arronson number of credits required for graduation calaureate degree are ineligible for financial Scholarship Committee by March 1. The fol- within the four-year period due to change of assistance from the College. lowing credentials are required: major or transfer status will be considered for 1. PCA application for admission. a fifth year of financial assistance only on an 2. High school transcripts. Student Responsibilities individual basis. PCA cannot guarantee finan- 3. Letter of recommendation from an art Students who receive awards from any outside cial assistance beyond eight semesters or after teacher or a professional in the arts. agency or private organization are obligated to completion of the required number of credits 4. A 500-word essay on your goals as a visual notify the PCA Financial Aid Office of such needed for graduation. artist. aid. At no time can total financial assistance, A student who withdraws from the College mid- 5. A portfolio of twelve pieces; 35mm slides including awards from outside or private or- semester for other than an approved reason are preferred. (Follow freshman portfolio ganizations, exceed the student's established (namely, health) will not be eligible for finan- requirements in catalog. level of demonstrated financial need. cial aid on his or her return for a repeat of that All transfer students are required to submit a semester's courses. The Selection Process Financial Aid Transcript to PCA from any post- Financial aid awarded by the College may be After the March deadline, the Arronson Schol- secondary institution attended, whether or not will select eight used only to meet educational expenses incur- arship Committee meet to financial aid was received from that institution. red by enrollment at PCA or one of the art in- finalists. Those students named as Arronson stitutions with which PCA has a student Ex- finalists will be notified of the date for in- person interviews, which will in change Program. The College is not able to take place April. offer financial assistance for enrollment at for- eign institutions.

66 Scholarships Commencement Prizes Industrial Design The Joseph Carreiro Memorial Award in The following endowed scholarships are given The Lorraine and Benjamin Alexander Prize Industrial Design

to students with demonstrated financial need The Roosevelt Paper Company Awards The Industrial Design Society of America as part of the College-adminstered financial Award aid program: Architectural Studies The Samuel H. Grossman Annual Memorial Packaging Creation and Design Alumni Association Scholarship The Architectural Studies Faculty Award for Award for Baugh Barber Fund the Best Senior Project Arts The Madeline Bean Scholarships The Kenneth Parker Associates Award for Liberal The Biddle Scholarship Excellence in Architectural Studies The Giulio Novelli Memorial Award The Camden High School Scholarship The Rouse and Associates Award for Outstand- for Excellence in Liberal Arts Winifred Cantor Scholarship Endowment ing Achievement in Architectural Studies James M. Cresson Scholarship Fund Painting & Drawing Crozier Prize Fund Craft The Stuart M. Engal Prize in Painting Desilver Scholarship Fund The Marcus Aurelius Renzetti Award The Ernest W. Greenfield Annual Memorial Edward Tonkin Dobbins Scholarship Fund The Jack Bowling Memorial Award in Award in Painting Clayton French Scholarship Fund Metalsmithing The Hunt Manufacturing Company Annual The Gillespie Scholarship Fund The Mr. and Mrs. Leon C. Bunkin Award Award in Painting Graff Prize Fund The Addie Grossman Annual Memorial Award The Philadelphia Watercolor Club Award Peter W. Gregory Memorial Endowment Fund in Jewelry Design and Creation The Rohm and Haas Company Purchase Award The Emily Leland Harrison Scholarship Fund The Metals Faculty Award The Painting and Drawing Faculty Award The John Harrison Scholarship Fund The Harvey S. Shipley Miller Award in The Winsor and Newton Painting Award Thomas Skelton Harrison Fund Ceramics The Michael Leone Senior Prize in Painting Aleene L. Hervey Scholarship The President's Purchase Prize and Drawing William & K. J. Hofacker Scholarship Fund The Fibers Faculty Award The Philadelphia College of Art Alumnna Jantzen Family Scholarship Fund The Philadelphia College of Art Ceramics Prize Award for Outstanding Progress During the Mrs. M. Theresa Keehmle Scholarship Fund The Hammill & Gillespie, Inc. Award in Junior Year Eva Keyden Scholarship Ceramics Charles Godfrey Leland Memorial Scholarship The William Kellmer Memorial Purchase Prizes Photography Fund Outstanding Rendering in Jewelry for the The Miller-Plummer Award for Excellence in Perry Leland Prize Fund Henry and Finished Piece Photography Lindbach Scholarship The Nikon/Ben Rose Prize Frank Hamilton Magee Scholarship Fund Education The Charles M. Kanev Award in Photography Georgia B. Mcllhenny Scholarship Fund The Education Faculty Award for Excellence Oscar E. Meitz Scholarship The A. Winfield Award in Textiles Printmaking Thorton Oakley Bequest The Garrett-Buchanan Company Prize Gertrude C. Partenheimer Scholarship Fund Graphic Design The Bertha von Moschzisker Annual Print- Ramborger Scholarship Fund The Duke Award for Excellence in Typography making Award Roberts Prize Fund The Art Director's Club Gold Medal The Perakis Frames Award S. Gertrude Schell Principal Endowment Fund The Champion Paper Imagination Scholarship The Print Club Annual Award Scott Memorial Scholarship Endowment Fund The Elmer 0. Aaron Award in Graphic Design The American Color Print Society Annual The Sinott Prize Fund The Graphic Design Faculty Award Award Annie E. Sinnott Scholarship Fund The Composing Room Award in Graphic The W. W. Smith Trust Scholarships Design Sculpture Temple Fund The Ailing and Cory Paper Award for Welded Sculpture Weightman Scholarship Fund The McCracken Award Plastic Club Award in Sculpture Runear Williams, Jr., Memorial Fund The Illustration Outstanding Howard Wolf Scholarship The Charles M. Kanev Prize for Ely Award for Excellence in The Lorraine and Benjamin Alexander Prize The William H. Sculpture Student Outstanding The Marcus Aurelius Renzetti Award Illustration The Sculpture Faculty Award for The Hunt Manufacturing Company Annual Work Illustration The following endowed scholarships are given Award in Marcel Vertes Award to a Senior Whose by the College to students on the basis of merit: The Drawing of the Human Figure Has Been *The Jacob and Gertrude Arronson Outstanding Scholarships The Roger Hane Annual Memorial Award The Lessing and Edith Rosenwald Scholarship The Art Directors Club Gold Medal in Printmaking The Albert Gold Drawing Prize The Mark Higgison Memorial Scholarship Fund The Illustration Faculty Award The Celia Kanev Scholarship Fund The Plastic Club Award The Jane Darley Naeye Scholarship The Society of Illustrators Annual Scholarship The Alice H. Pechner Memorial Scholarship Competition Fund The Bernice Travis Rudnick Memorial Scholar- ship Fund The Marguerite and Otis Walter Scholarship in Art History The N. W. Ayer Scholarship

*For further information see page 66. 67 ) ,

Louis Armour Stephen Berg

Faculty Instructor: Liberal Arts (PT) Professor, Liberal Arts (FT) BA, Lebanon Valley College BA, State University of Iowa

M. Ed. , Temple University Karen Ackoff Awards: Guggenheim Fellowship in Poetry; Composition and ESL instructor, Community Frank O'Hara Memorial Prize; NEA Fellowship Lecturer, Illustration (PT) College of Philadelphia; Satinsky Institute for in Poetry; Rockefeller Fellowship; PCA Venture BFA, Philadelphia College of Art Human Development, Temple University Fund Award MFA, Rochester Institute of Technology Publications: The Daughters; Nothing in the Experience: calligrapher, medical illustrator, Eugene Bakuskas Word; Clouded Sky by Miklos Radnoti (trans. ); scribe, illuminator Associate Professor: Painting/Drawing (FT) Grief: Poems and Versions of Poems; Oedipus Clients: Holt Rinehart Winston; Harcourt & BFA, Yale University the King by Sophocles (trans, with Diskin Clay); Brace Jovanovich; Wiley & Sons, Inc.; Ameri- With Akhmatova at the Black Gates: Variations Exhibitions: Earth Art I & II, Philadelphia, can Book Co.; Edit/Gin. McDougall Littell 1973-74; one-man show: Green Mountain Gal- Founder and coeditor of The American Poetry Publishing; World Book/Child Craft; Children's lery, 1974; "In Praise of Space," landscape Review Television Workshop, Cricket Magazine; Small painting in American art, 1976; two-man Talk Magazine; The Franklin Mint; FMC Corpo- exhibit, Gross-McCleaf Gallery, Philadelphia, Bichard J. Boyle ration; Philadelphia Maritime Museum, 1979; group show, Butcher-More Gallery, Lecturer: SmithKline Beckman Liberal Arts (PT) Philadelphia; "Broad Spectrum," PCA Faculty Certificate of Fine Art, Oxford University Show—Allentown Art Museum, Gallery at Laurel Adams BA, Adelphi University University of Pittsburgh, and William Penn Arts Administrator, Middletown Fine Arts Cen- Lecturer: Liberal Arts (PT) Memorial Museum, Harrisburg; paintings in ter, Middletown, Ohio; Cincinnati Art Mu- BA, West Chester State University numerous private and public collections; seum, Pennsylvania Academy of the Fine Arts. MA, Temple University "Landscapes" Swarthmore College, 1981; — Lecturer, Gulbenkian Foundation, U.S. Infor- Instructor, Moore College of Art; Pennsylvania "Drawings" Butcher-Moore Gallery, — mation Agency State University, Delaware County Campus; Philadelphia Temple University, Tyler School of Art Martha Breiden Awards: Prix de Rome Fellowship, Temple Uni- Alice E. Hampton Lecturer: Liberal Arts (PT) versity, 1960 Lecturer, Liberal Arts (PT) BA, Randolph-Macon Women's College BA, Rosemont College MA, University of Pennsylvania Paul Adorno MA, Temple University Phi Beta Kappa; Who's Who in American Col- Instructor: Education (PT) Teaching Assistant, Temple University leges and Universities; Lilly Fellow in Medieval AB, Georgetown University History, University of Pennsyvlania. 1979—80 MSC, University of Pennsylvania Morris Berd Experience: founder and first director of Bar- Professor Emeritus: Painting/Drawing (PT) Thomas Buck tram High School for Human Services, an alter- Philadelphia Museum College of Art; Univer- Assistant Professor: Architectural Studies (FT) native for humanizing high school education; sita Italiano per Stranieri di Perugia, Italy BA. Virginia Polytechnic Institute & State trainer and consultant for other alternative Exhibitions: Pennsylvania Academy of the Fine University schools in the Philadelphia area; consultant for Arts Annuals, Oil and Watercolor; Philadelphia MA, Cranbrook Academy of Art National on for Commission Resources Youth Museum of Art, Contemporary Art Gallery, Exhibitions: Ferris State College; Cranbrook Philadelphia; Philadelphia Art Alliance; Travel- Hans-Ulrich Allemann Academy of Art; Lund, Sweden; Berlin, ing Art Association; Franklin Institute, Phila- Germany Associate Professor: Graphic Design (FT) delphia; Gimbel Brothers, World Federalists Publications: Parametro 119. Bologna, Italy Swiss National Diploma (MFA Equiv. Show; Philadelphia Print Club; Philadelphia Allgemeine Gewerbeschule, Basel, Switzerland College of Art ARCO Gallery; "A Sense of Tom Butter Exhibitions in Switzerland, Germany and USA Place" Traveling Exhibit, Western US; "Five Pennsylvania Painters," Penn State Museum; Lecturer: Foundation (PT) Awards: Swiss National Stipend Award for Ap- Sheldon Memorial Art Gallery, Lincoln, BFA, Philadelphia College of Art plied Art, 1967; Typomundus Award, 1970; Nebraska MFA, Washington University NY Type Directors Club Award, 1980; AIGA Exhibitions: Grace Borgenicht Gallery, NYC; Awards, 1980, 1981; Philadelphia Art Direc- Awards: YMHA Diamond Jubilee Exhibit Silver Lawrence Oliver Gallery, Philadelphia; Penn- tors' Club Merit Award, 1981 Model; Gimbel Brothers Mural Contest Award; Philadelphia Print Club sylvania Academy of the Fine Arts, Philadel- Publications: Graphis; "Graphic Design Educa- Katzman Prize; Phila- delphia College of Art Alumni Award phia; Indianapolis Museum of Art; The New tion." ABC Edition, AIGA Graphic Design USA Museum, NYC; Storm King Art Center, NY; 1 & 2; Type Directors Club NY Award Annual Collections: Bamers Foundation, Merion, PA; Elac, Lyons, France; Galerie Ourban, Caracas, 1980 Pennsylvania Academy of the Fine Arts; Phila- Venezuela; various group shows in NYC delphia Museum of Art; Lyman Allen Museum, Jack Andrews New London, CT; Contemporary Art Museum, Collections: Metropolitan Museum of Art, Houston, TX; Gimbel Brothers Store, Mural; NYC; Indianapolis Museum of Art; Pennsyl- Associate Professor: Industrial Design (FT) FMC Corporation, Philadelphia, PA; Atlantic vania Academy of the Fine Arts, Philadelphia; BID, Pratt Institute Richfield Co., Permanent Collection, Los Chase Manhattan Bank; Prudential Insurance Experience: currently engaged in making de- Angeles, CA; First Pennsylvania Bank, Phila- Awards: NEA Grants for Emerging Artists, corative ironwork, custom wood stoves and wood delphia; First Continental Bank, Philadelphia; 1980, 1982 carving knives, as well as designing new alter- First Federal Savings & Loan Association, nate energy products; prepared an exhibit on Philadelphia; University of Pennsylvania Law the work of Samuel Yellin, shown at PCA in School, Philadelphia 1982; writing a book about Yellin's life and Publications: Holiday work as a blacksmith Magazine, September/ October 1973; "A Sense of Place," vol. 2, Alan Gussow, American Artist, February 1980

68 Harvey Citron Mark G. Cahill Ann Chahbandour Lecturer: Sculpture (PT) Lecturer: Architectural Studies (PT) Lecturer: Sculpture (PT) BFA Ed, Pratt Institute BS, Pennsylvania State University BA, University of Pittsburgh Diploma, Academy of Fine Arts, Rome, Italy Architecture Foreign Study Program, Independent Study, Rhode Island School of Darmstadt. West Germany Design Exhibitions: Dart Gallery, Chicago, 1982; MA, University of Pennsylvania MFA, Art Institute of Chicago "Figurative Art in New York," Artist's Choice Museum; Tibor De Nagy Gallery, 1980; Sotto Experience: Cope Linder Associates, Philadel- Exhibitions: Three Rivers Art Festival, 1975; Artists, Center for Visual Arts, 1976; 41st Eucharist phia; Ewing Cole Cherry Parsky, Philadelphia: Arts and Crafts Center, Associated Pittsburgh, Congress. 1976 Valentour. English and Associates, Pittsburgh Pittsburgh; Associated Artists, 1976; Chicago Vicinity Show, Art Institute of Chicago, 1977; Galleria Nuova Garpine, Rome, Jerome Cloud John J. Carlano Italy, 1978; Pietra-Santa International Exhibi- Lecturer: Graphic Design (PT) Lecturer. Photography/Film (PT) tion. Italy. 1978; Fellowship Exhibit, Art Insti- BFA, Philadelphia College of Art BFA. Philadelphia College of Art Cheltenham Art Center, tute of Chicago, 1979; Principal, Jerome Cloud Design, Philadelphia; Exhibitions: Chicago Art Institute: Allentown Philadelphia, 1980; solo exhibit. Eric Makler Katz Wheeler Design, Allentown, PA; Marian Locks Associate Designer. Art Museum, Exhibition, Gallery, Philadelphia, 1981; S/300 Philadelphia Gallery, Philadelphia; "Challenge Exhibition," invitational, Art Alliance, Philadelphia, 1982; Fleisher Art Memorial, Philadelphia Awards: AIGA Book Show, 1981; AIGA Graphic projected solo exhibition, Eric Makler Gallery, 20th Century Design USA 3; AIGA Philadelphia, 1982, Clients: Metro-Goldwyn-Mayer; Philadelphia, 1983 1983; Art Directors Club of New York, 1983, Fox; American Craft Magazine, Films for the School of the Awards: full tuition scholarship, DESI Awards, 1983, 1984; Art Directors Club Humanities. Inc.; Laurie Banks Advertising Chicago, 1976-78; Fulbright- Art Institute of of Philadelphia, 45th, 46th, 47th, 48th Annual Hays Traveling Fellowship, Pietra-Santa, Italy, Cynthia Carlson Awards 1977-78; George and Isabella Brown Traveling Vice President, Philadelphia (FT) Organizations: Professor: Painting Fellowship, School of the Art Institute of Chi- Chapter, AIGA BFA, Chicago Art Institute cago, 1979; honorarium for commission. Please Publications: Print Magazine, January/Febru- MFA, Pratt Institute Touch Museum, Philadelphia, 1981; Pennsyl- ary 1984 Exhibitions: Pam Adler Gallery, Barbara Toll vania Council on the Arts Individual Artist Gallery, NYC: Marian Locks Gallery, Pennsyl- Fellowship, 1982 John Columbus vania Academy of the Fine Arts, Philadelphia; Allen Memorial Art Museum, Oberlin, OH; George E. Chapman, Jr. Lecturer: Photography/Film (PT) NY; Chicago BFA, Hartford Art School Hudson River Museum, Yonkers, Assistant Professor: Education (FT) American MFA, Columbia University School of the Arts, Art Institute: Whitney Museum of BS Ed, Kutztown State College Art Museum, Miami, Film Division Art, MOMA, NYC; Lowe MFA, Tyler School of Art. Temple University Milwaukee Art FL; Albright-Knox Gallery; MA, Rutgers University Experience: Columbia University. Film Divi- Museum sion; Stockton State College, Pomona, NJ; di- Exhibitions: "American Graphic Workshops." of Art; rector, Thomas A. Edison/Black Maria Film & Collections: Philadelphia Museum Cincinnati; "American Drawing," Philadelphia; Guggenheim Video Festival, 1980 to present; producer or Richmond Museum of Fine Art; numerous national print exhibitions Museum, NYC; Denver Art Museum; New Or- production collaborator, various commissioned, Collections: Philadelphia Museum of Art; Cin- leans Art Museum independent, and commercial media projects, cinnati Museum of Art; Los Angeles County 1970 to present Grants; NEA. CAPS, NY Museum of Art; Temple University; Trenton Exhibitions: Pinelands Cultural Society/Albert Public commissions: Baltimore-Washington State College; Kutztown State College; Mercer Hall, Bamegat, NJ, 1984; Oakeside-Bloom- International Airport County, NJ, Cultural and Heritage Commission field Cultural Center, 1982; Swain School of Publications: "Painterly Painting— Motherwell, Design, 1979; New Jersey Public Television, Dante Cattani Ryman and Berthot." Rutgers Art Review, Janu- 1979: Lancaster Community Gallery, 1979; Professor: Foundation (FT) ary 1980; "Field Painting," Critical Perspectives Nexus Gallery, 1978: Dartmouth College Film Professor: Foundation and Painting/Drawing in American Art, Fine Arts Center Gallery, Uni- Department, 1977; Morris Museum, Art of Film (FT) versity of Massachusetts at Amherst and United Series, 1976 BFA, Philadelphia College of Art States Pavilion, 1976 Biennale, Venice, Italy Experience: lecturer in anatomy and drawing, Therese Farrington Conn Beaver College, University of Pennsylvania; Sharon Church Lecturer: Liberal Arts (PT) illustrator/designer for Hoedt Studios, N. W. Assistant Professor: Crafts and Foundation (FT) BA, St. Joseph's College Ayer, Gray & Rogers, Curtis, and others; mur- BS. Skidmore College MA, Vlllanova University als with Allen Saalburg and Jean Francksen at MFA, School for American Craftsmen. Roches- Lecturer, Curtis Institute of Music; Counselor, Blooomingdale's, NYC; Helen Caro, Chelten- ter Institute of Technolgoy PA, Resources for Women, University of ham, PA; Parkway House, Philadelphia, Exhibitions: Jewelry USA, NYC; Swan Gal- Pennsylvania prints in numerous collections; paintings and leries, Philadelphia; Concepts, Carmel, CA; Contem- film and animation for Welch Studios, The Elements, Greenwich, CT; The Hand and Studios porary Enterprises TV The Spirit, Scottsdale. AZ

Collections: Delaware Art Museum

Organizations: board of directors, Society of North American Goldsmiths Awards: NEA Fellowship Grant, 1978

69 Patricia Cruser Larry Day Benjamin Eisenstat Emeritus: Painting/Drawing, Illustra- Professor: Liberal Arts (FT) Professor: Painting and Drawing (FT) Professor AB, Dickinson College BFA, BA, Tyler School of Art tion (FT) Pennsylvania Academy of the Fine Arts MA. University of Pennsylvania Collections: Philadelphia Museum of Art; Barnes Foundation Experience: portfolio evaluator, Arts Recogni- Fleisher Art Memorial; Philadelphia College Royal College of Art, Cambridge Col- tion and Talent Search Program, Presidential of Art; Pennsylvania Academy of the Fine Arts; Lectures: Design; Scholar Commission, 1981-1982: reader/table Corcoran Gallery lege of Art, UK; Parsons School of Syracuse University leader, Advanced Placement Examinations, Exhibitions: Gross-McCleaf, Philadelphia; 1978-82; reader, ECT, SAT, 1967-70, 1977- numerous one-man shows Collections: Pennsylvania Museum of Art; panelists, 1982 Fleisher Art Memorial, IVA; ARCO; Ford Motor 80; NEH Awards: Temple University Alumni Certificate Company; U.S. Maritime Commission Awards: Lily-Pennsylvania Fellow: The English of Honor, 1980: Hazlett Memorial Award for Renaissance, 1980; Lily-Pennsylvania Fellow: Excellence in the Arts, 1982; Ingram-Merrill Awards: Harrison Morris Prize (3 times); Thor- Literature and the Visual Arts, 1979 Grant, 1983 ton Oakley Prize; First Award Watercolor USA Exhibitions: Metropolitan Museum; National Lawrence Curry Robert DeFuccio Academy of Design; Chicago Art Institute: Nor- Associate Professor: Liberal Arts (FT) Lecturer: Crafts (PT) folk Museum; Albany Institute; numerous one- BA, MA, University of Pennsylvania BS, State University of New York man shows

Editor. The Bulletin of the Montgomery County Clients: Stow-Davis Company; Thonet, Inc; Historical Society; Editor, The Valley Forge Gunlocke Co.; Falconl Inc.; Castelli, Inc.; Martha Erlebacher Journal Knoll International Lecturer: Illustration (PT) Publications: A History of Salem County, Awards: Rome Prize in Industrial Design, 1975; BID, MFA, Pratt Institute Princeton University Press; "The Early Anti- Institute of Business Designers Gold Medal for Experience: Pratt Institute, Parsons School of Slavery Movement in Philadelphia"; "The Mod- designing chairs Design 1875-1975"; erates in Pennsylvania "Systems Gallery: Robert Schoelkopf Gallery, NYC and Institutions —Changes in Contemporary Barbara Dennig American Society" Lecturer: Illustration (PT) Walter Erlebacher

Professor: Sculpture (FT) William Daley- Mary EUen Didier BID, MID, Pratt Institute Professor: Crafts (FT) Lecturer: Liberal Arts Exhibitions: Gross-McCleaf Gallery, Philadel- BA, Massachusetts College of Art BA, University of Wisconsin phia; University of Connecticut, Storrs; Liturgi- MA, Columbia Teachers College MA, University of Chicago cal Art, Eucharistic Congress, Philadelphia; Collections: Philadelphia Museum of Art; Archaeologist with interests in cultural process "Three Hundred Years of American Art," Phila- St. Louis Museum of Art; Everson Museum, in Eastern United States and Near East, lithic delphia Museum of Art; "Living American Art Syracuse, NY; Campbell Museum, Camden, NJ technology, and interdisciplinary research be- and the Figure," Pennsylvania State College Galleries: Helen Drutt Gallery; "The Work of tween the sciences and archaeology Museum; Pratt Manhattan Center, NY; Whitney Twenty Modern Masters," work in American Museum, NY; The Other Gallery, Philadelphia; potters Larry Donahue Pennsylvania Academy of the Fine Arts.

Awards: Distinguished Achievement in the Arts Lecturer: Crafts (PT) Pennsylvania Award, Massachusetts College of Art, 1980; Awards: Philadelphia College of Art Venture Honorary Life Member, NCECA, Atlanta, GA, Ronald Dorfman Fund Award, 1983-84 1983; NEA Craftsman's Grant, 1977 Lecturer: Foundation (FT) BFA, Philadelphia College of Art Richard Farnum Barbara Daley-Schwab MFA, Tyler School of Art, Temple University Lecturer: Liberal Arts (FT) University Lecturer: Illustration (PT) Experience: proprietor, Ronald Dorfman De- AB, Princeton sign, Richboro, PA, a full-service agency with Experience: Ph.D. candidate in sociology. Uni- Nancy Davenport international clients in the fashion, home fur- versity of Pennsylvania, specializing in social Associate Professor: Liberal Arts (FT) nishings, travel, book publishing industries theory, education, and social organization; con- higher education and BA, MA, Bryn Mawr College Exhibitions: General Electric Company, Phila- ducting research on elite PhD, University of Pennsylvania delphia, PA, 1977; faculty shows, Philadelphia problems of social solidarity Publications: "European Sources for Alei- College of Art, 1969—present jadino," Barrocco, 1975; contributions to the Laura Fattal Second Empire, Philadelphia Museum of Art Lecturer: Liberal Arts (FT) catalogue, 1978; "The American Legacy of BA, SUNY Buffalo Thomas Couture," Springfield Museum of Art MA. Hunter College catalogue, 1980; "Armand Desforges, a 19th PhD, University of Texas, Austin

C. Art Dealer," Gazette des Beaux Arts, 1982; Experience: art critic for The Jeivish Advocate, "Theroigne de Mericourt as Liberty, the Person The Daily Texan. Austin Arts and Leisure and the Symbol," Valley Forge Journal: "Notes on Gericault's Portraits of the Insane," Source Awards: Samuel H. Kress Summer Grant, 1976

70 Laurie Feinberg Alida Fish Virginia Gehshan

Lecturer: Architectural Studies (PT) Associate Professor: Photography/Filjrj (FT) Lecturer: Industrial Design (PT) BA, Cornell University BA, Smith College BS, Cornell University Center for Architecture & Urban Studies, San MFA, Rochester Institute of Technology Experience: director of graphic design, Daroff

Francisco Design Studio Experience: visiting artist, Smith College, Design, Inc., Philadelphia; special experience Registered architect, Philadelphia 1983; University of New Mexico, 1983; Sum- in architectural signage, packaging and exhibit

Experience: project architect, Campbell mer Photography program coordinator, Perland design Thomas, Philadelphia: American Institute of School, North Carolina; juror. Southwest Clients: SmithKline Corporation; Prudential Regional Photography, 1983 Architects, Philadelphia chapter: Josef Insurance Company of America; R. J. Reynolds

Kuenigstein. Philadelphia; Skidmore, Owings Exhibitions: Southern Light Gallery; E. J. Bel- Tobacco Co.; Hammarplast; Du Pont

& Merrill, San Francisco; faculty, Philadelphia locq Gallery; Portland School of Art; Camera Awards: Philadelphia Art Directors" Club; Neo- Community College Vision; Visual Studies Workshop, Portland Mu- graphics; Industrial Design Magazine; seum of Art; Morning Art Center; Santa Barbara Strathmore Paper Certificate of Excellence Allan P. Feldman Museum; Pennsylvania Academy of the Fine

Lecturer: Liberal Arts (PT) Arts; Lexington Museum of Contemporary Art Sheryl Gibson BA, New York University Publications: Camera: Modern Photography: Lecturer: Crafts (PT) MA, Columbia University Quiver '84: Contemporary Photography as BS, University of Maryland

Experience: physics instructor and chairman, Phantasy MA, Tyler School of Art, Temple University science department. Germantown Friends Collections: Standard Oil of Indiana; Humboldt Exhibitions: Handweavers Guild of America; School State University; Murray State University; Galveston Center for the Arts; Tyler School of

Grants and awards: American Association of Rochester Institute of Technology; George Art; Beaver College; Utah Museum of Fine Physics Teachers, National Science Teachers Eastman House International Museum of Arts; Salt Lake Art Center Association Photography Awards: Temple University Fellow; Utah De- signer/Craftsmen; University of Maryland Hon- John Freas Edmund J. Ferszt ors Scholarship

Assistant Professor: Illustration (FT) Lecturer: Illustration (PT) BFA, Tyler School of Art, Temple University BFA. Philadelphia College of Art Ponder Goenibel MA, University of Wisconsin MFA, Tyler School of Art, Temple University Lecturer: Illustration (PT) MS Ed, Bank Street College Education and Awards: Merit Society of Illustrators, NY; Parsons School of Design NY Art Directors' Club; AIGA Gold Medal; Albert Gold

Exhibitions: Janet Fleisher Gallery; Rosenfeld Philadelphia Art Directors' Club; Society of Professor Emeritus: Illustration (PT) Gallery, Philadelphia Art Alliance; Beaver Col- Publication Designers Diploma. Philadelphia College of Art lege; Wright Art Center; Alma Perlis Gallery; Exhibitions: in many painting annuals in US; Leah Freedman Moravian College; International Art Exposition: in many public collections including Library Langman Gallery; Cheltenham Art Center; Lecturer: Art Therapy (PT) of Congress, Philadelphia Museum of Art, Moore College of Art; Allentown Art Museum; BA, Antioch College Pennsylvania Academy of the Fine Arts. Ford Putmey Gallery MEd, Antioch College Collection. Standard Oil of NJ, New Britain Collections: Penn Federal Bank; Philadelphia Experience: registered art therapist, director of Museum of Fine Art, The Forbes Collection, Museum of Art; numerous private collections activity therapy, Children's Psychiatric Unit of Smithsonian Institution Museum of Fine Arts, in the Greater Philadelphia area Medical College of Pennsylvania; EPPI Cam- University of Pennsylvania, University of Min-

Awards: Tobeleah YAeschler First Prize, Annual pus: supervisor and senior clinical instructor, nesota, Harvard University, DeFogg Collection Awards Show, Cheltenham Art Center, 1970 Hahnemann University Awards: Prix de Rome, 1942; Tiffany Founda- tion Grants, 1947-48; illustrated for "Holi- Stephen Fiorella Frank Galuszka day," Sunday Bulletin Magazine, Ford Times, Lecturer: Photography/Film (PT) Associate Professor: Illustration (FT) Argosy, Yank Magazine, Life, etc. Lecturer: Continuing Studies (PT) BFA, MFA, Tyler School of Art, Temple Prizes: Society of Illustrators; Philadelphia Art BFA, Philadelphia College of Art University Alliance; Woodmere Smith Grant: Mural; Pew MFA, University of Delaware Experience: Tyler School of Art; Louisiana Tech House; Order British Empire

Experience: lecturer in photography, Beaver (AASCU Studies) Center in Rome; Aegean College School, Greece

Exhibitions: Cabo Frio Biennial, Cabo Frio, Exhibitions: More Gallery, Philadelphia, 1982, Brazil; Moore College of Art; Weber State Col- 1983, 1984, 1985; "New American Drawing," lege, Ogden, Utah; Delaware Art Museum Galleria De Ca Pesaro, Venice, 1983; Drawing Center, NY, 1980, 1982; University of Virginia; Awards: Philadelphia College of Art Venture Hahn Gallery, Philadelphia; Galleria Primo Fund; University of Delaware Arts Council Piano, Rome: USIS. Rome: Rosenfeld Gallery, Grant Philadelphia; Courthouse Show I and II. Phila- delphia

Awards: Fulbright recipient: joint US/Rumanian governments grant for "A Young Professional in the Arts," in Bucharest, 1969-70

71 Steven Goldner Howard Greenberg Cindy Haveson-Veloric

Lecturer: Crafts (PT) Lecturer: Industrial Design (PT) Lecturer: Liberal Arts (PT) BA, Swarthmore College BFA, Ohio University BA, George Washington University

Experience: visiting artist, with Beth Starbuck, Awards: Philadelphia Art Directors' Club, MA, Tyler School of Art, Temple University weeklong workshop at Miami University, 1978, 1980; Neographics, 1980 Experience: instructor and graduate teaching

Miami, OH Exhibitions: Creativity Delaware Valley, 1981 assistant, Temple University; administrator, Exhibitions: "Soup, Soup, Beautiful Soup," Sotheby's, Philadelphia Campbell Museum. Camden, NJ; "Made in Gerald Greenfield Ronald E. Hays Pennsylvania," Southern Alleghenies Museum Associate Professor: Photography/Film (FT) of Art, Loretto, PA, 1983; solo exhibition, BA, Pacific University Lecturer: Art Therapy (PT) Walker Arts Center, Asheville, NC, 1983; MFA, Rhode Island School of Design MS, Hahnemann Medical College "Crafts 16," Pennsylvania State Museum of Experience: research specializations in Experience: assistant professor and director of Art, University Park, PA, 1982; The Privat Col- Chinese photography and society, theory of art therapy education, Hahnemann University, lection Gallery, Cincinnati, OH, 1982; West- art, computer art, color theory and processes master; consultant. Arts in Special Education wood Clay National, Downey Museum of Art, Project of Pennsylvania Exhibitions: Indiana University; University of Downey, CA, 1982; First Ceramic Exhibition, Massachusetts; Vincennes University; Lewis Organizations: member, executive board, Portland Museum of Art, Portland, OR, 1982 and Clark College; Massachusetts Institute of American Art Therapy Association Lectures: with Beth Starbuck, National Council Technology; University of Oregon; Simon Rock on Education of Ceramic Arts, Atlanta, GA, College Marylou F. Hecht 1983; Purdue University Art Department, Awards: Unicolor Artist Support Grant, 1983— Assistant Professor: Graphic Design (FT) Lafayette, IN, 1982; American Institute of 84; National Endowment for the Humanities BFA. Rhode Island School of Design Specifiers, Allentown, PA, 1982 Summer Seminar, 1984; Philadelphia College MFA, Cranbrook Academy of Art Commissions: with Beth Starbuck, Philadel- of Art Venture Fund Award, 1983-84; Ford Awards: Design Fellowship, Cranbrook Acad- phia 1% for Art, Kelly/Maiello Architects, tile Foundation Grant, 1980 emy of Art; co-chairperson Design Michigan, friezes for Lawncrest Recreation Center, Phila- Cranbrook Academy of Art delphia, 1984; Urban Architects and Planners, Dorothy Grimm Exhibitions: AIGA Philadelphia, 1984 tile mosaics for 10 street corners, Norristown, Professor Emeritus: Liberal Arts (FT) PA, 1984; The Fox Theatre, wall tiles to match BA, Lebanon Valley College Gerald Herdman original Art Deco tiles, Atlanta, GA, 1984; tile BS, Simmons College Associate Professor: Foundation (FT) installation, Duke University Medical Center, PhD. University of Pennsylvania Certificate, Cleveland Institute of Art Durham, NC; tile floor restoration, Carpenters MFA, University of Pennsylvania Hall, Independence Mall, Philadelphia Publications: A History of the Library Company of Philadelphia, 1732—1835; co-translator of Experience: visiting artist/lecturer, University Awards: Best of Show, New Directions in Tile, the Danish Scandal in Troy by Eva Hemmer of Vermont, Colgate University, Cooper Union, Pewabic Society, Detroit, MI, 1983 Hanson Pratt Institute, Pennsylvania State University Eileen Taber Goodman Exhibitions: Cleveland Museum of Art; Judson Warren Gulko Memorial Church, NYC; various universities; Lecturer: Foundation (PT) Lecturer: Liberal Arts (PT) Gross-McCleaf Gallery. Philadelphia; or- BFA, Philadelphia College of Art BA, San Diego State University ganized exhibitions independent of commercial Exhibitions: one-woman shows, Swarthmore MA, PhD, University of Minnesota or institutional support since 1963; representa- College, Hollins College, Pennsylvania Acad- Experience: administrative positions which tive, JoAnn Nostrand, Oklahoma City emy of the Fine Arts, Peale House Galleries, included teaching of mathematics at University Gross-McCleaf Gallery, 1981, 1983, 1984; of Minnesota. University of Massachusetts at Kenneth Hiebert group exhibitions, "New Talent," Terry Dinten- Amherst, University of Hawaii, Temple Univer- Professor: Graphic Design (FT) fass, NYC; "Still Life," First Street Gallery, Chairman: Graphic Design NYC sity School of Medicine BA, Bethel College Collections: AT&T; Chemical Bank of New Al Gury Diploma, Allgemeine Gewerbeschule, Basel. York Switzerland Lecturer: lustration (PT) Awards: Cheltenham Art Center Painting An- Experience: research associate in the Arts, nual; Tobeleah Wechsler Painting Prize; Beaver Charles Hagen Yale University, Graphics in the Street, "The College Purchase Award Opposition of Images," paper presented at Lecturer: Photographv/Film (PT) Publications: The Art Still Life, Watson- EDRA 4; faculty, Federal Design Seminar; of BA, Harvard College' Guptill, NY, 1985; American Artist, 1981 Blossom-Kent Summer Program MFA, SUNY Buffalo, Visual Studies Workshop Projects: typographic system designed for IBM Experience: editor, Afterimage, 1971-80; Arlene Gostin and Westinghouse; designer of Hermeneia editorial staff, Artforum; freelance critic, Associate Professor: Education (FT) series, published by Fortress Press (AIGA 50 Artforum, Camera Arts, Afterimage, American Chairperson: Education Best Books award) Photographer, 1972— present University of Cincinnati Exhibitions: "Post-Modem Typography," Ryder Awards: NEA Critic's Grants, 1977, 1979; New BA, University of Delaware Gallery, 1978; "Ephemeral Images: Recent York State Council on the Arts Video Writing MA, Philadelphia College of Art American Posters," Cooper Hewitt, 1981; Grant, 1982 Exhibitions: The Art Alliance; The Print Club; "American Cultural Posters," University of Rosenfeld Gallery, Langman Gallery Louisville. 1982; "Twelve Eclipses, Depleted Claudette V. Hart Collections: The Philadelphia Museum of Art, Armour," Lima Art Association, Ohio, 1983; Lecturer: Liberal Arts (PT) Salzburg Academy "Thirty Years of Poster Art," Gewerbemuseum. BA, University of Toronto Basel, Switzerland, 1983; "The Expanded MA, University of Pennsylvania Photograph," Philadelphia Civic Center, 1971 Experience: ESL tutor at University of Toronto, Universitv of Pennsylvania

72 Alfred J. Ignarri Roland Jahn Richard Kagan Associate Professor: Photography/Film (FT) Associate Professor: Crafts (FT) Lecturer: Crafts (PT) Diploma. Philadelphia College of Art BA, MS. MFA, University of Wisconsin Attended Temple University and The New Albert C. Barnes Foundation, Merion, PA Collections: Corning Museum of Glass; Phila- School Wald, Experience: creative director and account ex- delphia Museum of Art: Vassar College; Brooks Studied with Peter Asher, Bob Cesare Gino Russo, 1967--70 ecutive, Sexton Studio. Cherry Hill. NJ Memorial Art Gallery, Memphis; Delaware Art Occhi, and Johnson Foundation: numerous pri- Experience: visiting artist, Boston University; Exhibitions: First Invited Show. Philadelphia Museum; vate collections Philadelphia Museum of Art; Craft Alliance, Museum of Art; IN. W. Avers and Son; Philadel- College, phia Art Alliance; Friends School; University Publications: Contemporary Art Glass: Modern St. Louis, MO; Keane Union, NJ; Stifel Fine Arts Center, Wheeling, of Pennsylvania; Art Directors' Club of Phila- Glass: Glass Registry; Glass Art Magazine WV delphia and Baltimore; Perkins Art Center, Exhibitions: "'Philadelphia: Three Centuries of Exhibitions: Exhibition of Liturgical Arts, Moorestown, NJ; PCA Community Art Center, American Art." Philadelphia Museum of Art, Philadelphia; American Crafts, Philadelphia, Cherry Hill, NJ 1976; "New American Glass," Huntingdon 1977; New Handmade Furniture, American Galleries, Huntingdon, WV, 1976 Crafts Museum; Recent Art Furniture, Niagara Jacqueline Jaeovini University; Made in Pennsylvania, Southern Commissions: nine chalices for the 41st Alleghenies Museum; Philadelphia Society of Lecturer: Foundation (PT) Eucharistic Congress, Philadelphia, 1976; US Woodworkers, Port of History Museum; Work- BS in Ed, Temple University delegate. International Conference on bench Gallery, NY; Governor's Exhibition, BFA, Philadelphia College of Art Glassblowing, London: correspondent for Harrisburg MFA, University of Pennsylvania Studio and Glass magazines Woodworking Magazine; Experience: assistant curator. University of Publications: Fine Pennsylvania Art Collection Lois M. Johnson Biennial Design Booh, 1977; Biennial Design Book 2, 1979 Exhibitions: Suzanne Gross Gallery, 1984; Ar- Professor: Printmaking (FT) thur Ross Gallery, University of Pennsylvania, BS, University of North Dakota Jerome Kaplan 1984 MFA, University of Wisconsin Professor: Printmaking (FT) Commissions: University of Pennsylvania Organizations: vice president, The Print Club Diploma, Philadelphia College of Art Awards: New Materials Exploration Award, Uni- Board of Governors; American Color Print Soci- Exhibitions: 19 one-person shows versity of Pennsylvania, 1982 ety; Society of American Graphic Artists Exhibitions: The Brooklyn Museum National Collections: Philadelphia Museum of Art; Gallery, Basel Jeanne Jaffe Print Exhibition; Pratt International Miniature Library of Congress: National Museum Lecturer: Foundation (PT) Print Exhibition; Graphics International, India; Nettie Visual Fellow- BFA. Tyler School of Art, Temple University The Print Club; Works by Women on Paper, Awards: Marie Jones Arts MFA, Alfred University Los Angeles; Boston Printmakers National ship, Lake Placid Center for Music, Drama Exhibition; Prints '78 National Print Invita- and Art, 1983; Guggenheim Fellowship, Exhibitions: Tweed Museum of Art. Duluth. tional; The Philadelphia Museum of Art History Tamarind Fellowship; Who's Who in American Minnesota; El Paso Museum of Art. El Paso. of Silk Screen: American Drawings II, Smith- Art Texas; Carborundum Museum. Niagara Falls, sonian Traveling Exhibition; Contemporary Portfolio of White House Etch- NY; Tyler Visiting Artists, Philadelphia; Whit- Commission: "A Drawings, Pennsylvania Academy of the Fine Carter ney Counterweight, NYC; various group shows ings," for President Jimmy Arts/Philadelphia Museum of Art; Cliche-verre, in NY area Publications: Lorca and Kafka books with relief Detroit Institute of Arts; The Print Club; Penn- Press Awards: National Endowment for the Arts; prints, Janus sylvania Academy of the Fine Arts; Marian assistantship, Mary Frank Guest Artist: Brandywine Workshop, December Locks Gallery, Philadelphia: various university 1984 galleries Steven Jaffe Collections: Atlantic Richfield Corporation; Associate Professor: Painting/Drawing (FT) Anne Karmatz General Electric Corporation; University of BFA, Philadelphia College of Art Lecturer: Liberal Arts (PT) North Dakota, University of Wisconsin; New MFA, Tyler School of Art BA, University of Pittsburgh York Public Library; Philadelphia Museum of MS, University of Pennsylvania Exhibitions: Philadelphia Museum of Art; Art; Metropolitan Museum of Art Pennsylvania Academy of the Fine Arts: Acad- MA, Villanova University Awards: Visual and Performing Arts Program, emy of Arts and Letters; University of North Experience: dean of women, Penn State Univer- 1980 Winter Olympics, Lake Placid, NY; Penn- Carolina; Atlantic College of Art sity, Delaware County Campus sylvania Council on the Arts Artist Fellowship, Collections: The University Museum, Univer- 1980 David Kettner sity of Louisville; Samuel White Institute of Visiting artist/lecturer: Nova Scotia College of Art, Louisville: Philadelphia College of Art Art and Design; Visual Arts Center of Alaska; Associate Professor: Painting/Drawing (FT) Institute of University of California at Los Angeles; Univer- BFA, Cleveland Art University sity of Wisconsin, Madison; University of North MFA, Indiana Dakota; Brown University; University of South- Exhibitions: "Made in Philadelphia 2." Insti- ern California, Los Angeles tute of Contemporary Art, Philadelphia; "Con- temporary Drawing," Pennsylvania Academy of the Fine Arts; "Six Self-Portraits, 1975 Series," Whitney Museum of American Art, NY; "Re- cent Works," NYU, Albany, NY; "A Bach Trans- cription," Morris Gallery, Pennsylvania Academy of the Fine Arts, 1981

Collections: Philadelphia Museum of Art; Rut- gers University; Pennsylvania Academy of the Fine Arts Awards: Philadelphia College of Art Venture Fund Award. 1983-84

73 Robert Keyser Abraham Leibson William Longhauser (FT) Professor: Painting/Drawing (FT) Lecturer: Industrial Design (PT) Associate Professor: Graphic Design University of Pennsylvania BFA, Philadelphia College of Art BS, University of Cincinnati Indiana University Certificate: Atelier Fernand Leger, Paris Experience: designer of electronic and elec- MFA, Graduate study, Allgemeine Gewerbeschule, Exhibitions and collections: USA and abroad tromechanical equipment, sports products, Switzerland computer-related products, medical equip- Basel, Galleries: Marion Locks Gallerv; Paul Rosen- ment, package development and package Experience: visiting professor, University of berg and Co., NYC: ACA, PA graphics. Cincinnati, summer 1980 Nathan Knobler Clients: SmithKline Beckman; Merck & Co.; Organizations: member, American Instiute of

Penn Fishing Tackle Manufacturing Co. ; Bard- Graphic Arts Professor: Painting/Drawing and Printmaking Parker; Automatic Timing & Control Co. Cincinnati, 1972; and Fine Arts (FT) Exhibitions: "City Walls," BFA, Syracuse University "Books + + Books," Philadelphia, 1978; Barbara Lekberg Teach at the MA, Florida State University "Broad Spectrum: Artists Who Lecturer: Sculpture (PT) Philadelphia College of Art," Allentown, Har- Exhibitions: Pennsylvania Academy, Brooklyn BFA, MA, University of Iowa risburg, Pittsburgh, 1981; "Thirty Years of Museum; American Federation of Arts Drawing Honorary Doctor of Fine Arts, Simpson College Poster Art," Basel, Switzerland, 1983; "AIGA Exhibition; American Federation of Arts "New Just Type," New York, 1983; "AIGA Philadel- England Print Makers," Institute of Contempo- Exhibitions: Sculpture Center, NYC; Arlene phia Show," Philadelphia, 1983; "AIGA Phila- rary Art, Boston; Wadsworth Atheneum; De- McDaniel Galleries, Hartford, CT;The delphia Show: 2," Philadelphia, 1984; "New Cordova and Dana Museum, Worcester Mu- Sculpture Gallery, Palo Alto, CA; Whitney Mu- York Art Directors' Club Exhibition," New seum; William Benton Museum seum; Museum of Modern Art; Pennsylvania York, Asia, 1984; "Philadelphia Art of the Fine Arts Europe, Publications: author, The Visual Dialogue, Holt Academy Directors' Club Exhibition," Philadelphia, Rinehart and Winston, New York Solo exhibitions: Sculpture Center Gallery, 1984; "STA 100 Show," Chicago, New York, NYC; numerous commissions 1984; "10th International Poster Biennale," Janus Lakis Warsaw, Poland, 1984 Jeffrey Leonard Lecturer: Illustration (PT) Philadelphia College of Art Lecturer: Industrial Design (PT) Ruth Lozner Exhibitions: Philadelphia Art Directors' Show, Associate Professor: Illustration (FT) Mike Leonard 1975; numerous advertising campaigns for BFA, Carnegie-Mellon University Industrial Design (PT) SmithKline Beckman Lecturer: MFA, American University BS, Philadelphia College of Art Experience: designer/illustrator, Harrill and Michael Lasuchin partner, The Design Works, indus- Experience: Fair Advertising, WNVT/53 Television; Journal trial design firm located in Upper Darby Associate Professor: Printmaking (FT) Newspapers, Inc.; AMES Film Productions; innovative design for products, AA, BFA, Philadelphia College of Art specializing in freelance MFA, Tyler School of Art, Temple University graphics, interiors, and exhibits Clients: North American Publishing Co.; Na- Clients: Mnemos Incorporated; SGL Waber Exhibitions: "American Graphics in Venice," tional Geographic Society of America; General Division; Hot- Italy; "American Prints and Printmaking: Electric; Ametek; U.S. Gauge Manufacturers Aviation Association and In- pack Corporation 1956-1981," Pratt Graphics Center; "American visions, Inc. Drawings in Black and White: 1970-1980," Exhibitions: Affects/Effects 2, Philadelphia Exhibitions: Woodmere Gallery, 1983; Beaver Brooklyn Museum; "Grabados Nortamericanos Art, 1983 College of College, 1983; Southern Alleghenies Museum Contemporaneons," Montevideo, Uruguay; Awards: 1980 Achievement Award, Philadelphia of Art, 1982; Washington, DC; Pittsburgh, PA; "Large Abstracts: Yonkers, Antreasian, Chapter Industrial Designers Society of Los Angeles, CA; Alexandria, VA, Philadel- Lasuchin," Wenniger Graphics, Boston; "Mini- America phia, PA, Butcher and More Gallery ature Print Exhibition," Victoria, Australia; Awards: Lilly Pennsylvania Fellowship, Univer- "Being and Nothingness," De Cordova Mu- Niles Lewandowski sity of Pennsylvania; Virginia Center for Crea- seum; over 30 one-artist shows, including The Lecturer: Foundation (PT) tive Arts Fellowship; Philadelphia College of Print Club, Philadelphia; Taller Galeria Fort, BFA, Maryland Institute College of Art Art Venture Fund Award, 1983-84 Cadaques, Spain; American Embassy, Bel- MFA, University of Pennsylvania grade, Yugoslavia, and a number of colleges Exhibitions: Gross-McCleaf Gallery, 1980, Leon Lugassy and universities through the US 1982; Meredith Contemporary Art, Baltimore, Associate Professor: Jewelry (FT) Collections: Library of Congress; Philadelphia Maryland; Bucks County Community College; BS, Philadelphia College of Art Museum of Art; Allentown Museum of Art; Wil- Chestnut Hill College; Fifth Street Gallery, MFA, Tyler School of Art liam Penn Memorial Museum; Free Library of Wilmington, DE in private collections; New Philadelphia; University of Pennsylvania; Geor- Work represented Awards: Philadelphia College of Art Venture State University at Fredonia, NY; invited gia Institute of Technology; Purdue University; York Fund, 1983-84 exhibitor, Tuscarora Lapidary Society University of Delaware; De Cordova Museum; Brooklyn Museum; Contemporary Art Center Lyons of Macedonia, Thessaloniki, Greece; Cabo Sherry J. Frio International, Rio de Janeiro, Brazil; Mu- Art Therapy Director seum of Modern Art, Barcelona, Spain; Na- Lecturer: Art Therapy (PT) tional Library, Paris, France BA, University of Pennsylvania Medical College Commissions: "Evocation," Print Club, Phila- MS, Hahnemann delphia; "Departure," Pratt Graphics Center, Experience: assistant professor, Hahnemann NY University and Hospital; registered art thera- Ashbourne Day School, 1967-72; lecturer Awards: over 130 in the last dozen years pist, and author on art therapy with children; consul- tant for Arts in Special Education Project of Pennsylvania

74 Larry Mitnick Penelope Malish Noel Mayo Design (FT) Associate Professor: Architectural Studies (FT) Lecturer: Graphic Design (PT) Adjunct Professor: Industrial BA, Cooper Union BFA. Philadelphia College of Art Chairperson: Industrial Design BS. Philadelphia College of Art MA, Harvard University Exhibitions: AIGA Philadelphia, 1983, 1984 Honorary Doctorate of Fine Arts, Massa- Awards: Progressive Architecture magazine cita- Awards: Art Directors" Club, 1978; AIGA Phila- chusetts College of Art tion — multi-family housing, January 1981 delphia, 1983, 1984 Experience: president, Noel Mayo Associates, Competitions: New public office building. an industrial design consulting firm which Austria, collaborators Robert Krier, Frank Mallas Vienna, handles contract interiors, product package, Kunibert Gaugusch, 1975-76; new polyvalent Lecturer: Foundation (PT) graphic and exhibit design community facility, Morges, Switzerland, col- B Arch, Cooper Union Awards: Industrial Design Magazine, 1977; laborator Prof. P. Von Meiss, assistant Marc Experience: partner, Friday Architects/Plan- Design Review, Philadelphia Art Directors' Club Henry Collomb, 1975-76 ners, Philadelphia: visiting lecturer. University Best of Everything Show, 1978; Neographics 7 Exhibitions: Cooper Union (Todd Williams! of Pennsylvania. University of Miami; guest Show; PCA Alumni Award, 1973; Alcoa Award, works by invited poets, writers, painters, critic. Temple University. University of Pennsyl- 1969 sculptors, architects, responding to the themes vania, Penn State University Lectures: Cornell University; Maryland Insti- "window, room, furniture," 1981; "Pedagogy Projects: Burlington Center Shopping Mall. Design. tute College of Art and Practice," National Academy of Burlington, Jacob Reeds Building, Phila- NJ: York City, exhibition of drawings, paint- Organizations: president, Greater Philadelphia New delphia. PA: Old Pine Street Community Cen- 1980; 'Young Faculty Development Corporation; member. ings, and architecture, Dickson Community Community ter. Philadelphia; House Architecture," Joe and Emily Lowe Art Gallery. Interior Design Council; Philadelphia Design Center, Philadelphia University, 1979; Bank of Indochina, Group Syracuse Lausanne, Switzerland (painting in bank col- Mary Martin Rodney McCormick lection), 1977; gallery of the Theatre du Vide- Lecturer: Liberal Arts (PT) Poche, Lausanne, Switzerland, 1976 Lecturer: Crafts (PT) BA, Macalester College BFA, Tyler School of Art, Temple University MA, Washington University Sandra Moore MFA, Rhode Island School of Design Coordinator of Middle East Center. University Lecturer: Photography/Film (PT) Experience: visiting artist, Artpark, 1982 of Pennsylvania: cultural anthropologist with BA, Yale University Works Gallery, special interest in Middle Eastern societies, Exhibitions: Swan Galleries; MFA, Yale University School of Art The Elements Gallery, Sheila Nussbaum Gal- ecological problems, and ethnographic film; Exhibitions: Whitney Biennial, 1983; Ameri- lery; numerous other galleries nationally and research in Iran (1974-78) and in St. Louis can Federation of the Arts Biennial Tour of US internationally (1966-70) and Europe, Museum of Modern Art, 1984; Metal Publications: articles on pastoral and agricul- Awards: award winner. Young Americans Downtown Whitney Comic Art Show; PBS Inde- 1981 tural strategies inTuran. Iran, for UNESCO Exhibition, American Craft Museum. pendent Filmmakers Showcase: Film Forum; Man and the Biosphere Project II Report on NYC: Thaia, Hirschorn, Center Screen, Bos- the Iranian Cultural Change, Heresies, Winter, George B. MeGeehan, Jr. ton; Cinematheque, SF; Metropolitan Museum 1978; "Ecological Consequences of Sedentari- Lecturer: Liberal Arts (PT) of Art, Tate, London zation of Nomads," (co-authored with F. Darl- BA. La Salle College Awards: Jerome Foundation Grant; NEA Grant, ing in The Careless Technology): "Conservation Senior Graduate Student. Villanova University Caps Grant at the Local Level," in Desertification & Devel- Experience: instructor. Community College of Prizes: Sinking Creek; Bellevue Film Festival; opment (Academic Press); "Case Studies of Philadelphia; former editor of Times Chronicle Trick Film, Chicago; Ann Arbor Festival: Traditional Marketing," in Proceedings of 3rd newspapers. Jenkintown, PA Athens Film Festival; Joseph von Sternberg International Conference on Goat Production Award. Mannheim, Germany and Disease" Robert F. Me Govern

Professor: Foundation and Painting/Drawing Chri9 Myers John Mathews (FT) Assistant Professor: Graphic Design (FT) Foundation (PT) Lecturer: Diploma. Philadelphia College of Art BA, University of Toledo Skidmore College BS, Collections: Philadelphia Museum of Art; Free MFA. Yale University MFA, University of Pennsylvania Lilbrary of Philadelphia; Pius XII Center. Awards: The Alexey Brodovitch Award for Dis- Exhibitions: Interiors. Saratoga Springs; Fac- Rome. Italy; American Catholic Historical tinction in Graphic Design, Yale School of Art, Pennsylvania; Mendola ulty Club. University of Society 1983 Boston Gallery. Commissions: Daylesford Abbey. Paoli, P\: Collections: Hirshhorn Museum. Washington, Poor Clare Monastery, Langhome, PA; St. DC: Mrs. Madeline Klausner, Philadelphia Mary's Hospital, Philadelphia; Mount St. Joseph's Academy, Flourtown: Franklin Insti- tute, Philadelphia

Publications: "Religious Art in the 20th Cen- tury—An Understanding," Pax Romano, Fribourg, Switzerland; "Re-Emergence of Reli- gious Art in the Seventies." Dimension

Exhibitions: over 14 one-man shows of paint- ings, drawings, and prints Awards: Philadelphia College of Art Venture Fund Award. 1983-84

75 Pastore Edith Neff Martin Novelli Albert J. Lecturer: Foundation (PT) Lecturer: Anatomical Drawing (PT) Associate Dean of Academic Affairs Philadelphia College of Art BFA. Philadelphia College of Art Associate Professor: Liberal Arts (FT) BFA, Art, Temple University BS, St. Joseph's College MFA, Tyler School of Exhibitions: Arizona State University, 1978; MA, Purdue University Experience: freelance illustrator Gross-McCleaf Gallery, 1979; Pennsylvania PhD, JD, Temple University Academy of the Fine Arts Peale House Organizations: Society of Illustrators, NYC board, The American Galleries; Aldrich Museum, Ridgefield, CT; Experience: editorial Exhibitions: Festival di Giovantu, Trieste, Italy; reviewer, Philadelphia "Contemporary Philadelphia Drawing." Phila- Poetry Review; fiction Society of Illustrators, NYC; Philadelphia Art "Re-Visions," radio documen- delphia Museum of Art, 1979-80; "American Inquirer; author, Directors' Club: Philadelphia Artists Guild; history Realism Since 1978," Pennsylvania Academy tary series on American Rosenfeld Gallery, Philadelphia; Philadelphia of the Fine Arts, traveling in the US and Eu- Art Alliance; Kutztown State College rope, 1981-83; Marian Locks Gallery, 1982, David Noyes Clients: TV Guide; After Six, Inc. ; General L. Gimbel Gallery, NYC, 1982 lustration (FT) 1984; Adam Assistant Professor: Electric; Binswanger; Bookbinders Collections: Philadelphia Museum of Art; Pennsylvania Academy of the Fine Arts; Minne- John Oilman Jean Pearce of Art: Washington & Jefferson sota Museum Lecturer: Liberal Arts (PT) Lecturer: Photography/Film (PT) Allentown Art Museum; Chemical College of Art College; BFA, Philadelphia BFA, Rochester Institute of Technology York; Equitable Life Assurance Bank of New MFA, Indiana University MFA, University of Delaware, Tyler School of Society Experience: director, Janet Fleischer Gallery, Art Fellowship, Pennsylvania Coun- Grants: Artist's Philadelphia Exhibitions: Muse Gallery, Philadelphia; 1982 cil on the Arts, Allentown Art Museum, Allentown, PA; Univer-

Publications: American Artist, 1974; Philadel- Jan Paris sity of Florida, Gainesville, FL; Roanoke phia Arts Exchange, 1979; Arts Examiner, 1981 Lecturer: Printmaking (PT) College, Roanoke, VA; Foto Gallery, NYC; Commissions: University City Science Center, BFA, Philadelphia College of Art Delaware Art Museum, Wilmington, DE; Los mural Ecole National Superieure des Arts Visuels, Angeles Center for Photographic Studies; Pratt Brussels Institute Chicago Eileen Neff School of the Art Institute of Collections: George Eastman House; University Lecturer: Fine Arts Program and Photography/ Collections: Royal Library of Belgium; Hope of Delaware, LA Center for Photographic Film G. Weil; Haydn Foundation for the Cultural Studies BA, Temple University Arts Organizations: chairperson, SPE Mid-Atlantic BFA, Philadelphia College of Art Exhibitions: Elvejhem Museum, Madison, WI; Region, 1984 MFA, Tyler School of Art, Temple University "American Book Art Now," 1983; "Affects/Ef-

Exhibitions: "Made in Philadelphia," Institute fects 2," Philadelphia College of Art, 1983; Dianne D. Perkins Royale. Brussels, of Contemporary Art; PS. 1, Long Island City, group show, Bibliotheque Lecturer: Liberal Arts (PT) NY; Morris Gallery, Pennsylvania Academy of 1981 BA, MA, Temple University Arts, Philadelphia; invited artist for Internship, Bibliotheque the Fine Awards: Conservation Experience: instructor. Temple University, House, an installation; Lace Gallery, Mellon Internship, Sophia's Nationale, Paris, 1984; Drexel University, Community College of Colby College, Maine; Tyler Philadelphia Philadelphia; Folger Shakespeare Library, 1982; Philadelphia School of Art, Philadelphia College of Art Venture Fund, 1984; Haydn Foundation Grant for Bookbinding, 1981-82; Ruth Perlmutter Gerald Nichols Fulbright-Hayes Full Grant to Belgium, Lecturer: Liberal Arts (PT) Painting and Drawing (FT) 1977-78 Associate Professor: BA, New York University Cleveland Institute of Art Diploma, MA, PhD, University of Pennsylvania MFA, University of Pennsylvania Barry Parker Publications: "The Melting Pot and the Post-Graduate Fellow, University of Associate Professor: Sculpture (FT) Sweetening of America," "Hollywood and the Pennsylvania MFA, Eastern Michigan University Jew," Film Reader 5, 1981; "Joyce and Exhibitions: "Made in Philadelphia 2 and 3," University of Massachusetts Cinema," Boundary 2, 1978; "Hitchcock's Rear "Sculpture Out- '84," College, Institute of Contemporary Art; Exhibitions: "Sculpture Beaver Window," "Woody Allen and Parody." Articles doors," Temple University Ambler Campus; Glenside, PA; "New Directions," sculpture on film/literature, feminist film, theory and "Contemporary Drawings," Philadelphia Mu- invitational, Harrisburg, PA, 1984; one-man narrative form have appeared in Film Comment. Philadelphia College of Textiles Gallery, Castleton State seum of Art; show, Christine Price American Quarterly, Journal of Modern Litera- and Science; "Iceberg Project," University of College, Castleton, VT, 1984; Pennsylvania ture, among others Vermont, Burlington; "The Fox Hunt," Morris Sculptors Who Teach, Governor's Residence, Gallery, The Pennsylvania Academy of the Fine S/300, Philadelphia Art Harrisburg, PA, 1983; Mary Phelan Arts; Allentown Art Museum; "Figuratively Alliance, Philadelphia, 1982; one-man show, Lecturer: Printmaking (PT) Sculpting," PS. 1, Long Island City, NY; "Arc- Christine Price Gallery, Castleton State Col- tic, Antarctic, Audubon," NYC; "Terminal New lege, Castleton, VT, 1982; drawing show, York," Brooklyn, NY; "Reflections," C. W. Post Hallwalls Gallery, Buffalo, NY, 1979; Three College, Greenvale, NY; Bemice Steinbaum Rivers Art Festival, Pittsburgh, PA, 1979; As- Gallery, NYC; "Synthetic Art," Harm Bouc- sociated Artists Exhibit, Carnegie Museum, kaert Gallery, NYC; "Activated Walls," The Pittsburgh, PA, 1979; one-man show, James- Queens Museum, Flushing, NY; University town, NY, 1979; Society of Sculptors Exhibit, City Science Center, Philadelphia PPA Gallery, Pittsburgh, PA, 1978, 1980 Collections: The Cleveland Museum of Art; Awards: Philadelphia College of Art Venture Philadelphia Museum of Art Fund, 1983-84, 1984-85 Awards: Guggenheim Fellowship, 1971

76 Christopher Phillips Joseph Rapone Warren Rohrer

Lecturer: Liberal Arts (FT) Lecturer: Graphic Design (PT) Professor: Painting (PT)

BA, University of North Carolina BFA, Philadelphia College of Art BA. Eastern Mrnnonile ( iullrgi-

MFA, Rochester School of Technology1 BS, Madison College (James Madison

Experience: instructor. New York University, Richard Reinhardt University) International Center of Photography, Rochester Professor: Crafts (FT) Organizations: Pennsylvania Council on the Institute of Technology; research consultant, Chairperson: Crafts Arts, 1976-79 Corcoran Gallery, gallery- WXXI-TV, Rochester; BA Ed, Philadelphia College of Art Artist in residence: Artists for Environment, director. New England School of Photography Exhibitions: Metropolitan Museum of Art, NY; Delaware Water Gap, 1971 ; Emma Lake Artists Publications: "Steichen at War," "War Story," Philadelphia Museum of Art; Philadelphia Art Workshop, University of Saskatchewan, 1977; "Standard Bearer," "A Mnemonic Art, Colotype Alliance; Helen Drutt Gallery; various univer- Fabric Workshop, Philadelphia, 1979

Aesthetics at Princeton," "A Modern Ruin." sity and college galleries throughout the US Selected group exhibitions: "Pittsburgh Inter- Awards: N.Y. Art Directors Club award for Collections: numerous commercial, religious, national," Carnegie Museum of Art; "Three "Steichen at War," 1982 and private collections Hundred Years of American Art," Philadelphia

Organizations: past president. Industrial De- Museum of Art; Pennsylvania Academy of the Jane Piper sign Educators Association; guest professor. Fine Arts; Corcoran Gallery of Art; "A Sense of Lecturer: Painting/Drawing (PT) Industrial Design Institute, Tokyo; member, Place," Joslyn Art Museum. Omaha, Nebraska; Institute of Contemporary Art, Philadelphia; Awards: Saltus Gold Medal — the 157th Annual National Trust for Historic Preservation Delaware Art Museum Exhibition of the National Academy of Design, NY, NY 1982 Mary Ann Reeser-Rudy One-person exhibitions: CDS Gallery, NYC; Lamagna Gallery, NYC; Morris Gallery, Penn- Exhibitions: "Jane Piper: Small Paintings and Lecturer: Liberal Arts (PT) sylvania Academy of the Fine Arts; Marian Works on Paper," Gross-McCleaf Gallery, BS, Shippensburg State University Locks Gallery; Makler Gallery Philadelphia; Paintings & Works on Paper, MEd, Temple University Collections: 1962-82, Community Arts Center. Wallingford, Experience: doctoral student in Writing Pro- Metropolitan Museum of Art; PA, 1982; Recent Paintings, Gross-McCleaf gram, University of Pennsylvania Philadelphia Museum of Art; Pennsylvania Gallery, Philadelphia, 1981; Recente Paint- Academy of the Fine Arts; Delaware Art Mu- ings, Bodley Gallery, NY, NY, 1981 Susan Rodriguez seum; Smith College Museum of Art; Allentown Museum of Art; Portland (OR) Art Museum Publications: Catalog from Bodley & Gross- BFA, M Ed, Tyler School of Art, Temple McCleaf, 1981, Solo Show with essays by Larry University Awards: Artists' Fellowship. Pennsylvania Coun- Day and Michael Florescu; Deborah Dorsey; Barnes Foundation, Merion, PA cil on the Arts, 1981; Artists' Fellowship, Na- tional Endowment for the Arts, 1981-82 Art World, 1981; Michael Florescu, Arts, 1981; Experience: School District of Philadelphia; Victoria Donohue, Philadelphia Inquirer, 1981; Tyler School of Art; Philadelphia Museum of Tony Rosati Barbara Wolanin, .New Art Examiner, 1981 (re- Art; Fleisher Art Memorial printed January 1982) Lecturer: Printmaking (PT) Awards: official commendation. Excellence in BA, Rider College Collections: Corcoran Gallery, Washington, Teaching, Philadelphia Board of Education; MFA, Tyler School of Art, Temple University DC; Pennsylvania Academy of the Fine Arts; federal grant, 1979; Pennsylvania teaching Philadelphia Museum of Art; Burlington Indus- grant, 1982; corporate grant, 1982 Experience: faculty, Abington Art Center, Jen- tries, New York; American Telephone and Tele- kintown, PA, 1980— present; former assistant Publications: Perspective, 1980; Prism, Journal graph Company; Atlantic Richfield Corporation; curator, Alverthorpe Gallery, Jenkintown, PA, of the Carnegie Museum ofArt, 1981; The Spe- Dr. and Mrs. B. Perry Ottenberg, Merion, PA; 1971-80; visiting artist, Tyler School of Art, cial Artist's Handbook, 1984 Museum of Art, Carnegie Institute, Pittsburgh; spring 1980 Exhibitions: "Women in Art," Philadelphia Graham Gund, Cambridge, MA Collections: National Gallery of Art, Washing- Museum of Art; "Ten Philadelphia Artists," ton, DC; De Cordova Museum of Art, Lincoln, Villanova University; Artists Equity at the Phyllis Purves-Smith MA; Dulin Gallery of Art, Knoxville, TN; Zim- Waterworks; Kammer Gallery; Kroungold Gal- Lecturer: Illustration (PT) merli Art Museum, Rutgers University, New lery; Arabesque Gallery; Plastic Club drawing BFA, Cooper Union Brunswick, NJ award MFA, Tyler School of Art, Temple University Exhibitions: "Plate/Print II." Philadelphia Exhibitions: one-woman shows, Tyler School of Print Club, 1979; Delaware County Community Art, Temple University, 1975; Moravian Col- College, Media, PA, 1979; faculty exhibit, lege, Bethlehem, PA, 1978; Gross-McCleaf Tyler School of Art, 1980; Walnut Street Theatre Gallery, Philadelphia, 1980-82 galleries, Philadelphia, 1980; Philadelphia Art Alliance. 1980; Contemporary Philadelphia Boris Putterman Printmakers, Paley Library, Temple University,

Associate Professor: Painting/Drawing (FT) Philadelphia, 1980; Educational Testing Ser- Diploma, Cooper Union vice, Princeton. NJ, 1980; 14th Dulin National BFA. Philadelphia College of Art Print and Drawing Competition, 1980; 56th MFA, Indiana University Annual International Competition, Philadel- phia Print Club. 1981: 8th International Mini- Teaching Experience: Indiana University; John ature Print Competition, Pratt Graphics Center, Herron Art School; Cleveland Institute of Art 1981; Tyler School of Art Alumni Show, 1984; Exhibitions: PCA "Observances," 1973; 19/80 invitational exhibition of American print- Representational Painting in Philadelphia; makers, Kipp Gallery, Indiana University of "Gallery Space 1976," Philadelphia YM/ PA, 1984 YWMA; Moravian College. 1975; St. Josephs University, 1979

77 Peter Rose Karen Saler Warren Seelig

Associate Professor: Photography/Film (FT) Associate Professor: Foundation (FT) Professor: Crafts (FT) BA, CCNY Co-Chairperson: Foundation BS, Philadelphia College of Textiles and MFA program, San Francisco State College BFA, Philadelphia College of Art Science Experience: films and tapes shown at festivals, MFA, Maryland Institute College of Art MFA, Cranbrook Academy of Art museums, and media centers in US and Exhibitions: Women's Regional Drawing Exhi- Exhibitions: Miller/Brown Gallery, San Fran- abroad; American, Baltimore, Ann Arbor, bition. Art Alliance, Philadelphia cisco, CA; one-man show, The Roberts Gallery Athens, Atlanta, Black Maria and Chicago film Collections: works in public and private collec- Contemporary Craft Association, C. W Post festivals; Montreal. Edinburgh. Melbourne, tions in New York, Philadelphia, Baltimore Center of Long Island University, NY; The Sydney, and festivals Oberhausen film and Rome Cleveland Museum of Art, 1977; Philadelphia Exhibitions: one-man shows at Millenium, Museum of Art, 1977; The Denver Grants: Prix de Rome painting grant; Rome Museum of NYC; Walker Art Center, Minneapolis; Collec- Art, 1978; Crafts Advisory Prize renewal grant; Philadelphia College of Committee, London, tive for Living Cinema, NYC: Pacific Film Ar- 1978; The Central Art Venture Fund, 1983-84; American Jewish Museum of Textiles, Lodz, chive, Berkeley; Kitchen, NYC; Boston Film Committee Grant Poland, 1978: Hadler/Rodriguez Galleries, and Video Foundation; Media Study, Buffalo; New York, NY, 1980; San Francisco Museum Organizations: fellow, American Academy in Cinema Parallele, Montreal; of Film in the Cities, Rome; Artists Equity Modern Art, 1981; Institut fur Kunstlerische Minneapolis; Chicago Filmmakers; and else- Textilgestaltung, Linz, Austria, 1981; The Tex- where Peter Sasgen tile Museum, Washington, DC, 1981 Collections: Museum of Gallery: The Hadler/Rodriguez Modern Art, NYC; Lecturer: Photography/Film (PT) Gallery, New Museum of Art, Pittsburgh; Philadelphia Free York BFA, Philadelphia College of Art Library; Australian National Rim Library; Awards: Pennsylvania Exhibitions: "Nine Philadelphia Photog- Council on the Arts Indi- Oberhausen Film Collection, West Germany; vidual Fellowship, 1983; National raphers," Pennsylvania Academy of the Fine Endowment Donnell Film Library, NYC for the Arts Individual Fellowship Grant. Arts; Rim and Photo Invitational, Santa Fe 1976, Awards: National Endowment for the Arts Fel- 1984 Center of Photography, Santa Fe, NM; "Award lowship, 1978, 1983; Pennsylvania Council on Winning Photographers," Philadelphia Museum the Arts Fellowship, 1981, 1982, 1984; Mid- Arthur Sendrow of Art; "Made in Philadelphia 5: Photography," Atlantic Regional Media Fellowship, 1983; Gov- Institute of Contemporary Art, Philadelphia; Lecturer: Liberal Arts (PT) ernor's Hazlett Award in Media Arts, 1981; "Contemporary Nudes," Seattle, WA BS, Philadelphia College of Pharmacy and John Simon Guggenheim Foundation Fellow- Science Collections: Library of Congress, Washington, ship, 1984 MA, Temple University DC; Philadelphia Museum of Art; Visual Studies Workshop, Rochester, NY; numerous Experience: counseling psychologist, PCA; Michael Rossman private collections in US and Europe director of group therapy, Adult Outpatient Professor: Foundation and Painting/ Service, Northwest Community Mental Health Awards: Pennsylvania Council on the Arts Fel- Drawing (FT) Center, Philadelphia, 1971-74; director lowship; Shipley Fund Purchase Prize; Philadel- of BID, Pratt group therapy, Northwest phia Museum of Art Community Mental MFA, Pratt Health Center, Philadelphia, 1974-75; coordi- Experience: industrial designer. General Elec- Barbara Schwarzenbach nator. Children and Family Unit, Charles R. tric Computer Department, Phoenix, AZ; de- Drew Community Mental Health Center, Phila- Lecturer: Illustration (PT) signed console and substation for GE 600-line delphia, 1982-present computer, cabinet for magnetic tape reader, Charles Searles casing for 400-line card reader, human factors Elaine Sorel Lecturer: Foundation (PT) prototypes, control panels and graphics Lecturer: Illustration (PT) Pennsylvania Academy of the Fine Arts Exhibitions: Eastern Pennsylvania regional University of Pennsylvania drawing exhibition, Beaver College, Glenside, Raymond Spiller Awards: General Services Commission, 1976; PA, 1976; invitational exhibition. Museum of Assistant Professor: Foundation and Painting/ International Arts Festival, "Festac," Lagos, Fine Arts, Pennsylvania State University; Drawing (FT) Nigeria; National Endowment for the Arts fel- "Drawing in Philadelphia," Beaver College, Pennsylvania Academy of the Fine Arts lowship, 1978; Creative Arts Program fellow- Glenside, PA; "The Earth Show," Philadelphia Dayton Art Institute ship, "CAPS," for to develop metal sculpture, Civic Center; invitational exhibition. Wood- NYC, 1981-82 Specialist in murals; 16 one-man exhibitions; mere Gallery, Chestnut Hill, PA; juried exhibi- represented in numerous private and public tion, Allentown Art Museum, Allentown, PA; Exhibitions: Land Mark Gallery, 1981; Peale collections; appraiser of fine arts for public Philadelphia Art Alliance; faculty exhibitions, Galleries, 1982; CAPS Fellowship Exhibit, and private collections; conservator of paint- Philadelphia College of Art 1981; "Afro-American Abstraction," San Diego ings, panels, documents, etc. for public and Museum, 1982; "Painted Sculpture," Sculpture Awards: Wintersteen Prize in Philadelphia, private collections; identification for all works Center Gallery, NYC, 1982; "The Curve of a 1973 pertaining to the major and minor arts Plane II," 22 Wooster, NYC, 1984 Galleries: Gross-McCleaf Gallery, Philadel- phia, 1973-82; Pearl Fox Gallery and Fishman, Robert Sebastian Werner Gallery, Philadelphia, 1968-70 Lecturer: Education (PT) BA, University of Pennsylvania MA, University of Toronto PhD, University of Toronto

Experience: project director. School District of Philadelphia

78 Franz Frederick Spului Thomas Stearns Lizbeth Stewart

Lecturer: Printmaking (FT) Associate Professor: Sculpture (FT) Lecturer: Crafts (PT) MFA, Ohio State University Memphis Academy of Art BFA, Moore College of Art Experience: Rutgers State University, Camden, Cranbrook Academy of Art Awards: Pennsylvania Council on the Arts NJ; Washington State University. Pullman, WA; Academia De Belli Arti, Venice Craftsmen's Fellowship, 1982 Walla Walla State Penitentiary, Walla Walla, Exhibitions: Venice Biennale; Brussels Interna- Exhibitions: Renwick Gallery, N.C.F.A., WA; Cleveland State University, Cleveland. OH tional; Park-Bernet Gallery; Smithsonian Insti- Smithsonian Institution, Washington, DC, 1980 Lectures: University of Lethbridge, Lethbridge, tute; Musee dArt Moderne, Paris; Carnegie Collections: Campbell Museum, NJ; Purchase Alberta; University of Calgary and Glenbow Institute: Municipal Museum. Warsaw, Poland; Award. Lannan Foundation. Palm Beach, FL; Museum, Calgary, Alberta; Nova Scotia College L'Uomo et LArte, Milan, Italy; Pennsylvania Joseph H. Hirshhorn Collection, Washington, of Art and Design, Halifax, Nova Scotia; Wash- Academy of the Fine Arts; Detroit Institute of DC; numerous private collections throughout ington State University, Pullman, WA; Middle Art; Renwick Gallery; National Museum of the US State University, Murfeesboro, TN American Art, Washington, DC: Willard Gal- Experience: artist in residence, The Fabric lery, NY; Musee des Arts Decoratifs, Montreal, Exhibitions: Southern Alleghenies Museum of Workshop, Philadelphia, 1981 Art; Glenbow Museum; Philadelphia Museum Canada of Art; Mississippi Museum of Art Awards: John Simon Guggenheim Fellowship; Patricia Stewart Italian Government Award; National Institute Lecturer: Liberal Arts Doris Staffel of Arts and Letters Grant; Fulbright Travel BA, University of Pennsylvania Grant; Artists and Writers Revolving Grant Associate Professor: Painting/Drawing (FT) Graduate study at Columbia University, Univer- BFA, BS, Tyler School of Art, Temple Publications: Who's Who in American Art; Who's sity of Pennsylvania University Who in the East Experience: instructor, Moore College of Art; MA, University of Iowa curator. Museum on Contemporary Art, Chica- Robert Stein Exhibitions: Rome Gallery, Temple University go; editor. Arts Exchange Abroad Gallery, Rome; Chatham College, Associate Professor: Illustration (FT) Publications: articles and revieivs in Art Express, Pittsburgh; Gross-McCleaf Gallery. Philadel- BFA, Massachusetts College of Art Art in America, Arts, Arts Exchange, and for phia; Bryn Mawr College; numerous private MFA. Tyler School of Art, Temple University museum catalogues on twentieth-century art and public collections Experience: staff designer. KYW-TV; freelance Collections: Taylor Woodruff, Inc., England; designer and consultant; Chilton Publishing; Hester Stinnett University of Iowa; Wills Eye Hospital, Phila- panel member, NAEA Eastern Arts Confer- BFA. Hartford Art School delphia ence; guest curator and promotion material MFA, Tyler School of Art, Temple University Lectures: Philadelphia Museum of Art; Wil- designer, Design & Illustration: USA; Iran Experience: director, Philadelphia College of mington Museum; Moore College; Overseas American Society, Tehran, Iran Art Printmaking Workshop School in Rome; University of Pennsylvania; Exhibitions: Rosenfield Gallery; Philadelphia Exhibitions: "New Talent in Printmaking," As- Logan Librarv; Penn State University workshop Art Alliance; University of Delaware; Bridge- sociated American Artists, 1984; challenge in oriental painting and iconography; Naropa water State College; William Penn Memorial exhibition, Fleisher Art Memorial; Print Club, Institute, Colorado; East-West Institute, Bud- Museum; Philadelphia Civic Center Philadelphia dhist art Collections: Westinghouse Corp.; RCA; First Collections: SmithKline Beckman: Telefund Awards: Beaver Drawing Show, first prize Pennsylvania Bank; William Penn Memorial Museum Management. Inc.; West Chester University

Ward M. Stanley Clients: Pennsylvania College of Optometry Elizabeth Swartz Associate Professor: Liberal Arts (FT) Awards: "What Artists Do Today," Allentown Lecturer: Architectural Studies (PT) BA, University of Hawaii Art Museum Symposium Advertising Club of BFA, Rochester Institute of Technology MA, University of Pennsylvania Delaware Annual Awards competition Philadelphia College of Art Experience: past president, PCA Faculty Coun- Experience: freelance designer; Gray and Rod- cil; founding member. Design History Forum; Joan Stemnder gers Advertising Inc., Philadelphia; Modern guest lecturer, Philadelphia Community Col- Lecturer: Liberal Arts (PT) Photography Magazine, New York; North Ameri- lege, Temple University BA, MA, University of Pennsylvania can Publishing Co., Philadelphia Recent article: "Cennino, Cumberland. Blake and Early Painting Techniques," Blake: An Illustrated Quarterly, Spring 1984

Richard Stetser

Professor: Foundation (FT) BFA, Philadelphia College of Art

Exhibitions: sculpture executed for Adaith Zion Congregation, Philadelphia; Whitman Park, Philadelphia; Thompson, Ramo, Woodridge Corp.; Redevelopment Authority of Philadel- phia; work represented in numerous private and public collections

79 David Taller Stephen Tarantal Petras Vaskys

Assistant Professor: Education and Professor: Illustration (FT) Professor: Crafts (FT) Photography/Film (PT) BFA, Cooper Union Art Institute, Kaunas, Lithuania BA, Harpur College, SUNY Binghampton MFA, Tyler School of Art, Temple University Academy of Fine Arts, Florence and Rome. MFA, Columbia University Exhibitions: NY Historical Society; Italy MA, University of Wisconsin, Madison Guggenheim Museum; Bertha Schaefer Gal- Exhibitions: Biennale Nazionale dArte Sacra, Experience: fellow. Graduate School of Arts lery; Richard Rosenfield Gallery; "Observances Novara, Italy; Casa dello Studente, Rome, and Sciences, Columbia University, 1981—82; III," Philadelphia College of Art; "Courthouse Italy; 2nd International Symposium of Artists, teaching fellow. Faculty of the Arts, Columbia Show," Philadelphia Vilnius, Lithuania, 1975; Craftsman Lithuanian University, 1984; lecturer, art history. Rose- Collections: Guggenheim Museum, NY; North Art Association, Brooklyn, NY; Civic Center mont College American Phillips Corp., NJ; SmithKline Museum, Philadelphia; Philadelphia Art Al- Exhibitions: one-man show, "Berks Film- Beckman, Philadelphia; Westinghouse Corp., liance; various college and private galleries makers," Reading, PA, 1980; "The Best of Pittsburgh; US Cultural Library, Bombay; Awards: Lilthuanian-American Community Philadelphia Filmmakers," Walnut Street Xerox Corporation; Publications: Graphics An- Cultural Council Award

Theatre, Philadelphia, 1979; one-man show, nual, 1974, 1975; Illustrators Annual, 1971, Collections: Art Museum, Vilnius, Lithuania; "Collective for Living Cinema," NY, 1977 1978 Vasaris Gallery, Bar Harbor, Maine; Lilthua-

Lectures: "Raw Cinema and the Great Reser- Client List: SmithKline Beckman; Xerox Corpo- nian Cultural Center, Brooklyn, NY; numerous voir of Stabilizing Signs," Ohio University Film ration; Fortune Magazine; Philadelphia Na- private collections Conference, 1984; 'Temporal Regulation and tional Bank; INA; US Postal Service the Space of the Frame: The Narrative Text and Susan T. Mguers Awards: UICA Faculty Research & Develop- Television," Society for Cinema Studies, 1984; ment Grant, "Shaped Canvas Bearing Walls"; Associate Professor: Liberal Arts (FT) "An Argument for a Foundation Course in Fulbright Grant in Painting to India; Gold BA, Bryn Mawr College Rim," AFI Newsletter, 1983; 'Television's Dis- Medal, NY Society of Illustrators MA, University of North Carolina at Chapel ruption of Traditional Genre Codification," Hill Society for Cinema Studies, 1983; "Beyond Sandra L. Tat man PhD, Bryn Mawr College Suture: Cognitive Activation in the Classical Lecturer: Liberal Arts (PT) Awards: Katharine E. McBride Fellow, 1971— Narrative Cinema," Society for Cinema BA, University of Delaware 72; Whiting National Foundation Fellow in the Studies, 1982; "Performance/Installation as an MLS, MA, University of Oregon Humanities, 1974-756; Lilly-Pennsylvania Interface Between Painting/Sculpture and the Fellow in the Literature and the Visual Arts Media Arts: Film and Video," College Art As- Architectural librarian and chief researcher, Program, University of Pennsylvania, 1979—80; sociation, 1982; "Experimental Narrative: A Athenaeum of Philadelphia Venture Fund Award, PCA, 1983 Second Perception," Society for Cinema Publications: Biographical Dictionary of Phila- Publications: 'The Hearth and the Cell: Art in Studies, 1981; "Adjacency, Expectation and delphia Architects, 1700-1930 (with Roger W. The Old Wives Tale, " Studies in English Litera- the Formation of Cinematic Perception," Ohio Moss) ture 1500-1900, 1981; "From Aesthetics to University Film Conference, 1980; 'The Inter- Pegagogy, " The Humanities: Philosophical De- pretation of Revision in the Classical Narrative William Ternay signs and Practical Visions," ed. C. Edward Rim," Purdue University Fourth Annual Film Lecturer: Illustration (PT) Kaylor, Jr. , 1981 ; "Nonsense and the Language Conference of Poetry," Signal 42, 1983; book reviews in Organizations: co-chairman, Media Arts Fabian Ulitsky The Journal ofAesthetics and Art Criticism, Caucus, College Art Association Associate Professor: Liberal Arts (PT) 1983, and Philosophy and Literature, 1984; BA, MEd, Temple University "Fairytales," 1985; "The Presenter of The Bat- Elsa Tarantal Experience: licensed clinical psychologist in tle of Alcazar," The Explicator, 1985; With Assistant Professor: Foundation (FT) private practice; currently completing PhD Child, Harcourt Brace Jovanovich, forthcoming Co-Chairperson, Foundation dissertation; director, group process and group BFA, Cooper Union psychotherapy Master of Science Program, Anthony Visco MFA, University of Pennsylvania Graduate School of Hahnemann Medical Col- Lecturer: Illustration (PT) Exhibitions: sculpture for University City Town- lege and Hospital BFA, PCA houses; Redevelopment Authority of Philadel- Publications: "Interfaces of Creativity," Art Awards: Fulbright-Hayes, 1970; Greenshields, phia; Marian Locks Gallery, Philadelphia; Art Psychotherapy, an international journal, 1979 1975; Pennsylvania Council on the Arts, 1981; Alliance, Philadelphia; Cheltenham Art Cen- Philadelphia College of Art Venture Fund (Flor- ter, Cheltenham, PA Victor Valla ence, Italy), 1984 Grants: Philadelphia College of Art Venture Associate Professor: Illustration (FT) Fund, 1983-84 BFA, Rochester Institute of Technology MFA, University of Illinois, Champaign Post-Graduate Fellowship in Printmaking to Atelier 17, Paris, France

Sarah Van Keuren Lecturer: Printmaking (PT) BA, Swarthmore College Philadelphia College of Art

Exhibitions: Swarthmore College; Wallingford Community Arts Center; Philadelphia College of Art Printmaking Gallery; Philadelphia Art Alliance; The Photography Place

80 LilyYeh Sherry Vita Carla Weinberg Associate Professor: Painting/Drawing, Founda- Assistant Professor: Illustration and Foundation Lecturer: Liberal Arts (PT) and Literature. tion. Liberal Arts (FT) Doctorate in Foreign Languages BA, National Taiwan University BFA, Philadelphia College of Art University of Pisa MFA, University of Pennsylvania Provincetown Workshop Fulbright Grantee, 1964-65 MFA, Maryland Institute College of Art Experience: exchange lecturer. Italian and Ita- Lecturer: "Contemporary American Art," Beij- Central Institute of Fine Arts and Zhejiang Experience: design, freelance textile design lian civilization, Lake Erie College, 1964-65; ing, Italian studies. University of Institute of Art, China; Rutgers University; Uni- for home furnishing and apparel industries; seminar in Pennsylvania; Walpack Center, NJ costume design, American Dance Festival, Pennsylvana, 1979-80 versity of 1984: Great Chazy Dance Company Organizations: Alliance Francaise de Philadel- Exhibitions: Please Touch Museum, University City Science Center. Marian Locks Gallery. Exhibitions: "Seasons," solo show. University phie, America-Italy Society of Philadelphia Philadelphia; B. Speed Art Museum, Louis- of Pennsylvania; Arts Tower Reunion Show, Translations: "The Falling Tower," artists' state- J. ville, KY; Reading Museum, Reading, PA Baltimore Fabric Workshop Experimental ment by Anne and Patrick Poirier, PCA Gallery, Prints; Wdliam Patterson College, Women's 1979; "Artsound," essay by Germano Celant, Awards: "Response Competition," Please Touch Invitational, Villanova University; "Expressions published bv Soundings, Neuberger Museum, Museum, 1982; PCA Venture Fund Award

II," Philadelphia Civic Center; 1976 Maryland N.Y., 1981 Coordinator: art exchange program between Art Caplan Biennial, Baltimore Museum of Publications: "Guido Gozzano a cent' anni PCA and the Tianjin Fine Art College, Tianjin. Hopkins University Award; mural. Johns dalla sua nascita" China

Ron Walker Burton Weiss Peggy Turner Zablotny & Professor: Photography/Film (FT) Stephen Zablotny Associate Lecturer: Liberal Arts (PT) Chairman: Photography/Film BA, MA, PhD, Princeton University Lecturers: Industrial Design (PT) BA, University of the South BS. Philadelphia College of Art Experience: associate professor of psychology. MFA, Maryland Institute College of Art Drexel University; interests and research Experience: partners, design office. Z Studio, Experience: artist in residence, Penland de- primarilv in the areas of physiological compara- Philadelphia; work ranges from exhibitionl School, North Carolina, 1984; Cranbrook Acad- graphic tive psychology sign, signage, program design, and emy of Art, Michigan, 1981,1982 design to design consultation, research design, Exhibitions: Robert Friedus Gallery, New York, Julian Winston and master color planning 1983; Cranbrook Art Museum, Michigan, 1981; and Cultural Com- Associate Professor: Industrial Design (FT) Clients: Arkansas Museum "Made in Philadelphia 5," Institute of Contem- Franklin Institute; The Academy of BID, Pratt Institute mission; porary Art, Philadelphia, 1980; Winona State Natural Sciences; Deborah Heart and Lung Clients: Philo Records; Pixenbar Music; Ameri- University, Minnesota, 1980; "US Eye," Winter Center; Jefferson Hospital; General Electric; can Institute for Homeopathy: National Center Olympics, Lake Placid, NY. 1980; "Recent Business Interiors; Stauffer Chemical Company for Homeopathy: Creative Playthings Acquisitions," Philadelphia Museum of Art, Exhibitions: Olaf Skoogfors Retrospective Philadelphia Designer's 1979; "Sea Change," Mancini Gallery, Phila- Organizations: IDSA; Exhibit; Philadelphia College of Art Faculty Philadel- Group; Human Factors Society; American Fed- delphia, 1979; Tyler School of Art, Show phia, 1979 eration of Musicians

Publications: co-editor, Barbara Blondeau. Christine Zeunsky Peter Wood 1938-1974, Rochester, NY, 1976 Assistant Professor: Graphic Design (FT) Lecturer: Industrial Design (PT) Awards: Philadelphia College of Art Venture MFA, Allgemeine Gewerbeschule. Basel, Fund Grant, 1983; Sewanee Review Award for Switzerland Joseph Wong Creative Writing, 1968; Phi Beta Kappa Publications: Graphis, Typographische Assistant Professor: Architectural Studies (FT) Publicite, Modern Publicity, ID Kentucky Monatsblaetter, Stanley S. Ward B.Arch., University of "15 Designers," M.Arch., Cranbrook Academy of Art Exhibitions: Graphic AIGA Instructor: Liberal Arts (PT) group shows in Zurich. Switzer- 1976; Invitational: BA, Duke University Awards: International Student Studies. land, and Philadelphia award to study in MA, PhD, Harvard University University of Kentucky travel England and Western Europe, 1976 Experience: faculty. North Carolina State Uni- Toby Silverman Zinmau versity, Bethune-Cookman College. Ferrum Robert Worth Associate Professor: Liberal Arts (FT) English composition and journalism College; MA, PhD, Temple University (FT) BA, instructor, Temple University. Drexel University Assistant Professor: Crafts Rutgers Uni- BFA, MFA, Rochester Institute of Technology Grants: Professor of the Year. Publications: work in journalism and two vol- 1974; doctoral fellowship. Temple Uni- sculptural furniture versity, umes of poetry, Crookshank and Virgil's Lovers Experience: one-of-a-kind versity, 1969-72; scholarship, University of and custom building London, 1969; teaching assistantship, Temple William Webster Exhibitions: Richard Kagan Gallery. Philadel- University, 1964-66; NEH summer seminar phia: Philadelphia Civic Center Museum; Associate Professor: Liberal Arts (FT) grant, Columbia University. 1984 William Penn BM, Curtis Institute of Music Philadelphia Museum of Art: Publications: "The Snail under the Leaf: Iowa Memorial Museum. Harrisburg; DeCorva Mu- BA, University of Imagery." Modern Fic- Allentown Katherine Mansfield's PhD, University of Pennsylvania seum, MA: Delaware Art Museum; tion Series, 1978; "Adrian Mitchell," Dictionary Art Museum papers and reviews pub- Experience: numerous ofLiterary Biography. 1983; "Harmony Lost in lished; active participant, American Society the Lost Ones," American Notes and queries. Steven Yarnall for Aesthetics; referee. Journal ofAesthetics 1983; "Singing along with Pinter's Old Times." Lecturer: Education (PT) and Art Criticism; fellow, Institute for Aes- The Explicator, 1985; "Solstice." British Liter- thetics at Temple University; master ary Magazine, 1985; "Trace," The Modem Age, candlemaker; written two internationally distri- 1985; "Shepard Suite," American Theatre, buted books on candlemaking; designed and 1984 built architectural complex in Massachusetts

81 Administration

Peter Solmssen, AB, JD Administration and Finance Student Services

President Warren Gulko, BA, MS, PhD Victor S. Zarzycki, BA, MA, EdD Jan Buchan DeVries, BA Vice President ofAdministration and Finance Dean ofStudent Services

Executive Assistant to the President Catherine V. Caldicott, BA Kate T. Donahue, BA, MEd. PhD Josephine Stamm, BA, JD Assistant to the Vice President ofAdministration Director of Counseling and Career Center Special Assistant to the President and Finance Barbara Polishook, BA, MA Anthony Capuano Career Counselor, Counseling and Career Academic Affairs Director of Facilities Management Center Joanne Ryan, BA, MA, PhD Frank Barletta Jean MacLeod Vice President and Dean for Academic Affairs Assistant Director of Facilities Management Registrar

Edmund J. Ferszt, BFA, MA, MSed Julie Garrett, BA Shirley Daniels, BFA Assistant Vice President for Academic Affairs Director of Business Management Assistant Registrar Martin Novelli, BS, MA, PhD, JD Adele Hanna Jennifer Brown, BA, MA Associate Dean for Academic Affairs Personnel Administrator and Assistant Director Director of Campus Life Frederick Osborne, BFA, MFA of Business Management Nadine Senyk, BM, MM Director of Continuing Studies Jay Loucks, BS Residence Counselor Teri-Lee Ceraso, BS, MA Director ofFinance Thomas Hurst, BA, MA Assistant Director of Continuing Studies Robert Worrest Director ofACT 101 Program Eve Orlow, BS, MS, EdD Accounting Supervisor Queen Jones, BA. MEd Director of Learning Skills Center Michael Bonitatibus, BA Assistant Director ofACT 101 Program and Robert Schoenholtz, BA, MS Director of Computer Services Counselor Learning Skills Center Counselor Helen Leibig, AS Eugene Howard, BA, MA Constance Saems, BFA Computer Operations Supervisor Tutorial Coordinator, ACT 101 Program Learning Skills Center Counselor Joseph Garbarino John Musto, BS Martha Hall, BA, MLS Director of Public Safety Director of Financial Aid Librarian John Chinnery, BFA Deborah Smith Haley, RN Deborah Stagg, BFA, MS Security Supervisor Health Services Librarian Robert DiEva John Caldwell Security Supervisor Slide Librarian Louis Monacello Richard Sassaman, BFA Security Supervisor Audiovisual Manager Ralph Niglio Security Supervisor Admissions John CTBrien Caroline Kelsey, BFA Security Inspector Director Admissions of Thomas DelRicci Roberta Cohen, BFA Superintendent of Maintenance Assistant Director ofAdmissions Gordon A. Fluke, BA Communications and Development Assistant Director Admissions of Caroline Dunlop Millett, BA, MA Andrea Zemel, BA Vice President of Communications and Assistant Director ofAdmissions Development Carolyn Biscoe Christine Palasak, BA Administrative Assistant, Transfer Coordinator Administrative Assistant to the Vice President of Communications and Development

Bruce E. Beans, BA Director of Public Relations Joseph Rapone, BFA Director ofDesign Dovie Prather Director of Development Eleni Cocordas, BA Director of Exhibitions Peggy Benson-Gyulai, BA Adminstrative Assistant for Special Events

82 Board of Trustees

Sam S. McKeel, Chairman Man' Louise Beitzel

Irvin J. Borowsky Nathaniel R. Bowditch Ira Brind

Helen S. Chait Michael M. Coleman James L. Crowell Eleanor Davis

Philip J. Eitzen Anne Elder Kermit Hall Dorrance H. Hamilton

Richard P. Hauser Marvin D. Heaps H. Ober Hess Stephen R. Holstad Bruce W. Kauffman Nathan Knobler. Faculty Representative Berton E. Korman Irving S. Kosloff William G. Krebs, Alumni Trustee Thomas V. Lefevre

Al Paul Lefton, Jr. Eleanor B. Lloyd John W. Merriam Harvey S. Shipley Miller Sondra Myers Joseph Neubauer

Theodore T. Newbold

John C. Pemberton, Jr. William L. Rafsky Sydney Roberts Rockefeller Edith Rosenwald

Jerry J. Siano Samuel R. Shipley. Ill Harold A. Sorgenti

George I. Tvndall, Jr., Alumni Trustee

H. L. Yoh, Jr. Stephen Zablotny, Alumni Trustee

Honorary Trustees James Eiseman Josef Jaffe Bodine Lamont Ronald K. Porter Mel Richman

Philip H. Ward, III Dorothy Shipley White Bemice Wintersteen Howard A. Wolf

Ex Officio Trustees The Honorable W. Wilson Goode The Honorable Joseph Coleman The Honorable Nathaniel Washington

83 Information

Concerning the following: Write to or call:

Admissions to day College, undergraduate, Admissions Office M.A. in Art Education, teacher certification, 215-893-3174 and Pre-Freshman Enrichment Program

Continuing Studies admissions and Office for Continuing Studies information, special student status 215-893-3160 Saturday School 215-893-3125

Tours of the College Admissions Office

Registration, scheduling, recording, Office of the Registrar transcripts, veterans, readmission, 215-893-3190/3193 return-degree candidacy, PAFA and student exchange programs

Financial Aid information Financial Aid Office 215-893-3181

Housing information Campus Life 215-893-3185

Information about career planning placement Counseling and Career Center and counseling 215-893-3121

Student billing and payments Finance Office 215-893-3149

Security and Safety Security Office 215-893-3166

Philadelphia College of Art Broad and Pine Streets Philadelphia, Pennsylvania 19102 215-893-3100

Accreditation

The Philadelphia College of Art is accredited by the Middle States Association of Colleges and Schools, the Commonwealth of Pennsyl- vania, and the National Association of Schools of Art and Design.

The College is an institution of purpose— the humanistic and professional education of visu- ally talented persons for careers in visual arts and design. Opportunities for employment ad- vancement, and for enrollment in educational programs, shall be extended to all qualified persons, without respect for race, color, relig- ion, sex, age, handicap, or national origin. Qualifications for enrollment shall be those which indicate potential to succeed in and be- nefit from the courses of instruction offered by the College; qualifications for employment shall be those which with respect to the par- ticular position are essential for and will best contribute to the accomplishment of the goals and purposes of the College. No criteria beyond those deemed necessary shall be re- quired, nor shall any criteria be adopted which will affect adversely opportunity for employ- ment advancement or enrollment by reason of race, color, religion, sex, age, handicap, or national origin.

84 Index

2 Academic Advisement 46 Learning Resource Center 58 Academic Regulations 59 Leave of Absence 3 Academic Requirements 38 Liberal Arts 62 ACT 101 Program 82 Administration 49 Master of Arts in Art Education 62 Admissions 51 Main Line Extension 7 Architectural Studies 1 Major Departments 46 Art Therapy 57 Meal Service 14 Metals 56 Counseling and Career Center 11 Ceramics 23 Painting and Drawing 51 Cherry Hill Program 51 Part-Time Study 67 Commencement Prizes 52 Pennsylvania Academy/PCA Program 51 Continuing Studies Cooperative 26 Photography/Film/Animation 10 Craft 11 Plaster 3 Credits 51 Pre-College Program 30 Printmaking 1 Degrees Offered Probation, Academic 59 Dismissal 59 3 Dual Degrees 59 Readmission 47 Education Department 59 Refund Policy 53 Enrichment Programs 52 Exchange Programs 57 Safety 64 Expenses 51 Saturday School 67 Scholarships Sculpture 68 Faculty Biographies 33 57 Social Regulations 64 Fees 60 FERPA (Buckley Amendment) 56 Student Services 51 Summer Programs 13 Fibers 65 Financial Aid Teacher Certification Program 35 Fine Arts 47 Telephone Numbers 52 Foreign and Summer Study Programs 84 Admissions 5 Foundation Program 62 Transfer 33 Trustees Tuition 12 Glass 64 58 Grading System In-Service Teacher 16 Graphic Design 47 University Education Network (UITEN)

57 Health Service 59 Withdrawal from College 52 Honors 15 Wood 56 Housing

19 Illustration 21 Industrial Design

85

Credits

Editorial: Bruce Beans, Communications & Development Design: Joseph Rapone, Communications & Development Photography: John Carlano, cover, p. 10, 12, 14, 15, 26 Tom Crane, The Great Hall

Gene Mopsick, p. 7, 16, 19, 21, 23, 33

Ron Walker, p. 49 Typesetting: Duke & Company Production Assistance: TD Design

Printing: Morris Graphics Inc. Philadelphia College of Art Bulk Rate Admissions Office U.S. Postage Broad and Pine Streets Paid Plnladelphia, PA 19102 Philadelphia, PA Permit No. 1103