Admissions Portfolio Statement:

Students seeking support of the studio arts for admission to Kenyon College may submit a portfolio consisting of:

1. twelve film slides or
2. a CD with digital slides with two images printed on paper
3. a list that indicates the title, size, media and date of creation of the artwork in slides.

Distinctive Features of the Studio Arts at Kenyon College:

A wide range of classes in both style and content which emphasize strong skill and conceptual development. This range can be seen in faculty work and student work. The classes offered include a variety of approaches to drawing, painting, photography, printmaking, sculpture, digital imaging, video, and installation art.

Low student-faculty ratio: We have five faculty members in the studio area (and four in art history). For the number of students on campus, this means beginning studio classes usually have 15-24 students, intermediate classes are 12-15 and advanced classes have no more than 10 students in them.

Professional Faculty: All are actively exhibiting artists who have the professional experience to help students understand the larger culture and art world. The examples on our website are just the tip of the iceberg of work they have produced.

Excellent Students: Our students have curiosity and intelligence fueled by their liberal arts background. They bring all this to the discipline of expressive visual and kinesthetic processing and their work is layered with meaning.

Good facilities including a new state of the art digital imaging classroom, and drawing and painting studios in Bexley Hall, a historic building at Kenyon. A well-equipped sculpture shop with wood, metal, clay and plaster capabilities and a large photo and printmaking area in the Mayer Art Center. All of these studios are accessible for long hours by art students. In addition, a craft center run by the student affairs center (not the art department) with facilities for weaving, stained glass, ceramics, photography and woodworking sits next to the art barn and serves the entire student population with weekly classes (not for credit).

Space for non-majors in classes: You certainly don't have to be a major to get into art classes. The true liberal arts nature of Kenyon is at its best when those in creative writing/ science and music (for instance) connect in an art class.

Senior Studios: If you choose to major or minor in Studio Art you will have a semi-private studio in your senior year to help you concentrate on your projects. This is unusual in an undergraduate liberal arts college.

Advanced Studio Seminar: All senior majors work on individual projects in whatever media they choose for a full year and learn to critique across media. This seminar also encourages an intellectual understanding of ones work in relationship to the wider contemporary art world.

Senior Shows: As a senior major, you will have a focused, small group show with a body of cohesive work that you will present to the campus. A short written and oral component add to the strength of this senior cumulative experience that our majors applaud as the most important event of their art education here. We consider it your first professional exhibition. Many similar schools have a large group show, or a less thematically focused show, without the writing and speaking requirement.

Quotes from former students:

"The elegance of Kenyon's art department is its subtle ability to develop artistic direction and technical skill without compromising each student's creative, individual voice. The ease with which my peers and I became confidently fluent in art-making is incredible. To this day I'm baffled at how I learned so much in so little time. Kenyon's art department exhibits an unbelievable diversity in individual artistic direction, media expertise, teaching styles, and critical thought. It is within this diversity that students develop as well rounded and considerate artists."
Russell Whitmore '03
Practicing artist, Brooklyn NY

"Senior year is an especially wonderful gift. Through having my own studio space and the focus of creating a coherent body of work I was able to delve deeply into my own artistic vision after learning so much during the 3 previous years. Each of my professors made the effort to get to know me. I greatly appreciate this! They took me seriously as an artist. They shared their own art, and artistic processes, with us. "
Hannah Levin '01
Elementary Art Teacher, NC

"I believe that one of the unique features of a Kenyon education is the way that the major can be molded to one's own interests and passions. Being an art major did not mean that I had to forget about music and writing ( my other loves) . Instead, I was encouraged to incorporate them in my work."
Emily Harris, '99
Practicing Artist, Brooklyn, NY

"I do love to hammer - love to feel heat and pain, love to be covered in paint and sawdust - love to sweat to the tome of mountains and wake up covered in dew. In this way, art is for me a celebration of being human - a physical self immersed and engaged in the earth and elements around me."
Maggie Lamb, '03
Arts Community, KY

"I think the most valuable thing about the arts program at Kenyon to me was the mentoring relationships. I really felt like the professors were really invested in me as an artist. It is the combination of small classes and the professors committed to teaching as well as producing their own work that makes the program really special."
Beth Carrott, '97
Attorney, NYC

"Kenyon's Fine Arts Program is, without a doubt, the most undervalued offering in the College. The list of now reputable and even famous graduates of the Studio major rivals that of any other program in the school, yet never seems to get any attention. So many successful artists and illustrators have come out of the program, though it seems only those in the department know of them. The reason, I believe, for so much success is the programs devotion to solid foundations in conceptual thinking and design skills. From the earliest intro classes, all the way through the advanced thesis, the program stresses quality and rigorous conceptual development, to the the great benefit of the artists and their work."
Patrick Moorhead '96
President, Burroughs/Moorhead Design Inc.

Overview of the Studio Art Curriculum

Requirements for the Studio Art Major

    Students majoring in studio art must take three courses of introductory work (ARTS 102-107), which should be completed by the end of the sophomore year if possible; four courses of intermediate work with at least three different faculty members (ARTS 210-379); two courses of advanced work (ARTS 480-481) with two different members of the studio faculty, one each semester of the senior year; and two courses of art history, which should be taken by the end of the sophomore year, if possible. A maximum of two courses may be taken off campus. Students majoring in studio art may not take a required course as pass-fail or as an Independent Study. Also, independent study courses cannot apply to the major requirements.

Requirements for the Studio Art Minor

     Students minoring in studio art must complete two courses of introductory work (ARTS 102-107); three courses of intermediate work (ARTS 210-379); and one art history course. Through the course of their study, minors must have classes from at least three different faculty. One studio course may be taken off campus. A maximum of two courses may be taken off campus. Students minoring in studio art may not take a required course as pass-fail or as an Independent Study. Also, independent study courses cannot apply to the minor requirements.

Studio Art Introductory Courses

     ARTS 102-107 offer the beginning student a wide variety of media and subject matter to explore. In each class, students confront the decisions that go into making personally meaningful artwork via demonstrations, slides, lectures, and critique sessions, but most importantly by manipulating materials and ideas. Course content and approach will differ from section to section or class to class, but in each the goal is to introduce students to the ideas, techniques, and vocabularies of producting vidual art.
     Enrollment in introductory course usually ranges from fifteen to twenty-three students per section, depending on facilities. No previous art experience is necessary.

The Senior Exercise in Studio Art

     The Senior Exercise in studio art consists of a public exhibition (usually in the Olin Gallery), a written statement, and an oral defense before each member of the studio faculty. The Senior Exercise usually occurs immediately after spring break in the second semester.

Guidelines for Independent Studies in Studio Art

     The studio faculty do not recommend independent studies because we feel it is important for students to work in the context of other artists. Nonetheless we know that occasionally an independent study might be appropriate. They must be approved by the department according to the following guidelines:

• Independent Studies should be undertaken when a student has exhausted all the options for that media in the regular curriculum.
  
• The subject for an independent study must be in a discipline that the faculty member has expertise.
  
• An Independent Study does not count toward the requirements of the major, it is considered an extra course.
  
• An Independent Study should not overload the faculty member.
  
• When possible the student should connect with a class doing a similar media in the faculty member's field for feedback from other students (critiques).
  
• The responsibility for writing up a contract, maintaining a schedule and motivation belongs with the student, not the faculty member.
  

For current year offerings and course descriptions please go to the Course of Study

Beginning Level

ARTS 210 The Human Figure in Sculpture
ARTS 211 Art with a Function
ARTS 212 Art with Four Legs - Critters and Fantasies
ARTS 214 Faces, Places, Trees & Apples: Sculptural Topics
ARTS 225 The Electronic Photographic Image
ARTS 226 The Photography of Invention
ARTS 227 Photography of Contemporary Practice
ARTS 228 Photography II
ARTS 229 Documentary Photography
ARTS 230 Drawing: The Figure
ARTS 233 Drawing II
ARTS 245 Printmaking
ARTS 250 Fundamentals of Painting
ARTS 261 Video Art
ARTS 320 Color Photography
ARTS 321 Digital Photography
ARTS 351 Contemporary Painting Practices
ARTS 360 Installation Art
ARTS 361 Alternative Narritives: the role of storytelling in video art

Studio Major Check Sheet

1.   Beginning level: 1-1/2 units (3 courses)

2.   Intermediate level: 2 units (4 courses) with at least 3 faculty members

     Additional Courses: (Optional Yet Recommended)

3.   Advanced level: 1 unit (2 courses) with 2 faculty members
 

4.   Art History: 1 unit (2 courses)

     Notes:

• You are earning a KENYON COLLEGE Degree with a major in Studio Art. Thus, a strong proportion of classes should be taken at Kenyon, not elsewhere.
• If you desire to do an off-campus studies program, one semester away works well. The entire Junior year away has proven to be problematic for some Seniors when they return.

1.   Beginning level: 1 unit (2 courses)

2.   Intermediate level: 1-1/2 units (3 courses) with at least 3 faculty members

     Additional Courses: (Optional Yet Recommended)

3.   Art History: 1/2 unit (1 course) highly recommended

     Notes:

• You are earning a KENYON COLLEGE Degree with a minor in Studio Art.You may take one Studio course off campus.
  

Read Baldwin
Assistant Professor of Studio Art
Read Baldwin has been teaching in the Art Department since 1995. He attended Kenyon, graduating in 1984, and received his MFA from Pratt Institute in 1989. He teaches Drawing, Color Theory, and Printmaking. He has exhibited most recently at The Blue Mountain Gallery in New York City in June 2004. His work is landscape-based involving contemporary perceptions of nature.

     Making art is closely related to teaching art. They are both intensely creative activities that should always overlap. When I make art, just as when I teach, I engage similar types of personal, cultural, and social investigation. And the exploration of new ideas and styles occurs in the classroom just as it does in the studio. The connection between artist and teacher is strongest when the work of one spills into the arena of the other. In one assignment recently, my class explored the current cultural perceptions of Nature. Because this genre was so critical to the evolution of modern art and continues to be considered in contemporary art, it seemed to me a vital project. It was also the central theme of my own thinking and art-making at the time. I believe that my investment in the topic accelerated the personal engagement of each of my students.
     Looking at contemporary art and discussing contemporary issues is the best way to connect what we do here at Kenyon with the larger world. And thinking deeply about new ideas and how they may have sprung from older ones is an essential skill for all students to learn. These components become part of the visual literacy that is the currency of our field, and they are necessary for any individual in today's world.

Claudia Esslinger
Professor of Studio Art
Professor Esslinger came to Kenyon in 1984 and is currently co-chair of the Department. Her MFA is from the University of Minnesota and she teaches digital imaging, video art and printmaking. She exhibits video installations in galleries nationally and creates video projections for performances.

     Reaching out to gather ideas from the context of our lives is especially meaningful in a liberal arts college. Putting together those fragments intuitively, kinesthetically and visually facilitates a kind of discovery that is impossible in a sequential mode of thought but flourishes in the visual arts. Ideas develop in the context of cultural history and personal experience.
     As a teacher and an artist I look for the confluence of these elements in students' work and in my own. Often materials or techniques stimulate new ideas when combined with popular culture and our lives. To use the right media for the content of the piece and to let the work have its own voice is part of a magical interchange between an artist and their artwork.
     The texture of rawhide, rust covered twigs, the electronic pulse of a moving image, the sound of machines or interviews or collaborative music all energize the spaces I find for my installations. The people who enter the galleries enhance the meaning of the work by bringing their own histories to the space and interacting with it.

Barry Gunderson
Professor of Studio Art
Barry Gunderson joined the department in 1974 after receiving his MFA from the University of Colorado-Boulder. He teaches all the sculpture courses in the Department from the intro level "Three Dimensional Design" to the more unusual courses such as "Art with a Function" and "Art with Four Legs." His work also deals with the third dimension from outdoor public commissions to smaller studio pieces.

     Learning to be an artist is a very complex process. Learning to enjoy Art by trying to make it is also complex. Once it is started the process has to be practiced and explored - perhaps for a lifetime. As an Artist/Teacher I think it is important to share my studio trials and tribulations for art-making is always fun but rarely easy. It is also important to share the joys of this activity - those times when an idea in combination with carefully selected and worked materials yields a product I am proud to exhibit. It is also a joy to help students dig deeply into themselves, then to use all their energies and resourcefulness to create a work they never thought possible.

Marcella Hackbardt
Assistant Professor of Studio Art
Professor Hackbardt began teaching art and photography at Kenyon in Fall 2000. Her MFA is from the University of New Mexico. Her work focuses on issues of identity, the family, and gendered expectations of contemporary society.

     Even though learning photography and digital media can at times involve rigorous attention to technical instruction, as a teach I seek to offer a balance of technical and aesthetic training. At the same time, I provide theoretical framework and intellectual context for students' art making practice. This fuels a student's interest in making meaningful work and encourages each student to evaluate the ethical and social impact their work may have on a larger audience.
     My own work is heavily invested in the idea that images can create knowledges. I explore in visual form the discrepancies between lived experience and the assertions and presumptions of culture.

Craig Hill
Visiting Professor of Studio Art
Professor Hill earned his BFA in Drawing from the Atlanta College of Art and his MFA in Painting and Printmaking from the Rhode Island School of Design. He teaches drawing, painting, and printmaking. His work appropriates imagery and techniques from pop culture and modernist works of art. In using well-known childhood imagery such as super heroes, toys, and ray guns he creates paintings that revolve around issues of masculinity and male rites of passage.

     In my studio and inside my class room, art making is examined both as language and as craft. The visual language addresses the use of cultural signifiers, symbols and metaphors in the content and structure of the image. My students are not only taught to make images but also to read images in order to develop their visual literacy. They are taught to examine the social, cultural and historical contexts within their work. This understanding enables the expression of meaningful communication, both personal and shared. It is my goal to foster an understanding of the world through the study of art, in order to engage with the world in a meaningful way.

Karen Snouffer
Chair, Associate Professor of Studio Art
Karen Snouffer joined the department in 1998 and received her MFA from The Ohio State University. She teaches painting, drawing and installation. Her work, which concentrates on installation and painting, is exhibited nationally.

     Investigating the common object as a metaphor for the human condition is a direction I have explored over the last eight years. I have become increasingly sensitive to the psychological weight that the ordinary may carry, being particularly mindful that this deciphering centers on personal experience and cultural meaning. In my recent work, the act of remembering moved to the forefront of my emotional and artistic concerns, as I addressed the death of my father. Referencing some of his common and not so common objects gave me the opportunity to aesthetically resolve and discover innumerable definitions of memory.
     As a multi-media installation artist, I am fascinated with space and have incorporated painting, drawing, three-dimensional forms and video together or alone in my environments. Because photography is closely associated with memory and the transient, it has also become a genre that I utilize in single pieces or larger site-related works.
     How do these approaches impact my teaching? I encourage students to value mastering traditional processes while being open to experiencing the excitement of searching out and discovering non-traditional methodologies. I want students to learn that art making involves both anguish and exhilaration and that these emotional states are necessary for artistic growth. In the midst of a dynamic liberal arts setting, I encourage a student to utilize an interdisciplinary approach to art making, confident it will aid in the development of a broad yet deeply enriched visual language.

All studio art facilities are for students currently enrolled in studio art classes in the medium that a particular facility supports. For instance, in order to use the sculpture facilities, you must have taken a sculpture course at Kenyon or be currently enrolled in a sculpture class or a class where the professor has demonstrated use of the equipment in that facility for a particular purpose. To use the darkroom, you must currently be enrolled in a photo class in the department, to use the digital lab you must be enrolled in a digital course, etc.

Senior art majors enrolled in the Advanced Studio Course and working in a chosen medium may use these facilities with the permission of the instructor who maintains that facility and under the responsibility of your seminar instructor. You should not expect the faculty member in charge of the facility to guide your work or remind you to clean up. You may ask that person advanced technical questions if needed. In addition the shop monitor/ technician may help give technical guidance for seniors and students from other classes, as long as primary instruction has been given in a class, and as long as the student does not expect the technician to do work for them. In order to make this work smoothly, please have a conversation early on with the faculty who are in charge of each area. Below is a list of the studio Art classrooms and the medium taught in each area. Please see the Studio Art Department Administrative Assistant if you need to know the faculty member in charge of each area.

Sculpture - Art Barn 1st floor
Photography - Art Barn 2nd floor - South room
Printmaking - Art Barn 2nd floor - North room
Drawing - Colburn Hall
Digital Imaging - Bexley Hall 201
Painting - Bexley Hall 3rd floor
Installation - Gazebo Art Annex

Use of equipment and facilities outside of these guidelines is not allowed.* We ask those of you who are enrolled in studio classes to help us keep this policy in effect for the sake of safety of those involved and our annual budget, which is allotted for a certain number of studio students.

* Use of the digital lab by advanced Drama students trained by Jon Tazewell falls under the same category as Senior Studio Majors: they should talk to Claudia Esslinger.

Studio Art Facilities Hours:

6am - 2am

Sculpture Shop Open Hours:
Class times

9am - 11am
1pm - 3pm

Supervised times:

7pm - 11pm
1pm - 5pm
1pm - 5pm
1pm - 9pm

Sculpture Shop Limited Access Hours:

7am - 12pm

All Studio Art Facilities Open (same hours as all College Buildings)

Monday, Wednesday, Friday

During these times only students enrolled in these classes are allowed in the classroom or sculpture shop.

Monday, Tuesday, Wednesday, Thursday
Tuesday, Thursday
Saturday
Sunday

Shop Technician Monitor will be on duty.

During these times and class times and only during these times the Tablesaw, Bandsaws and Large Beltsander will be available for use. You must plan your work accordingly.

If you are a new user or feel uncomfortable with any of the equipment, we urge you to use these monitored times when help and guidance are available.

Those enrolled in sculpture classes and other art students who need regular access to the sculpture shop will be issued keys.

During these Limited Access Hours hand tools, including power hand tools, and welding equipment may be used AFTER instruction has been given and expertise determined. Expertise status is given only by an Art Faculty member. A list of student with this status will be posted in the shop area.

THERE MUST BE AT LEAST TWO PERSONS IN THE SHOP AREA (THE BUDDY SYSTEM) DURING THESE LIMITED ACCESS HOURS.

Art Department Student Studio Policy

1. Senior Studio space is located in Bexley, Colburn and the Art Barn.
   
   
2. The number of majors and minors will determine the number of students sharing each studio space. This number will be decided by the Art Department Administrative Assistant and the Studio faculty.
   
   
3. Only the students signed up for a space may use that space. (No allowing friends to work in studio space.)
   
   
4. There is a $25 Key deposit. Keys must be returned to the Art Office to receive a $25 credit. Leaving keys in your studio will not get you a credit.
   
   
5. Any new construction in the studio space must be pre-approved by the Art Department Administrative Assistant and the Studio Chair. New construction is at your cost and it is your responsibility to remove that construction before Graduation or you will be billed by maintenance department for removal.
   
   
6. Furniture moved into the studio space is at your cost and it is your responsibility for delivery. You must be here for delivery and arrange to get it to your studio. Having furniture dropped off at Bexley parking lot is not acceptable. The Art Department Administrative Assistant WILL NOT accept DELIVERIES. Furniture must also be removed before Graduation or you will be billed by the maintenance department for removal.
   
   
7. Upon leaving the College all art work, materials and supplies must be removed from the studio space and Art facilities. Any unwanted but usable items can be left in the hallway of the first floor of Bexley or in the foyer of the Art Barn.
   
   
8. Flammable trash needs to be put in the fire safe trash cans located in each studio. All other trash needs to be put in garbage bags and placed near a trash can. Large items must be taken to the back of Colburn near the trash can.
   
   
9. Painting on stairwell walls, classroom walls, parking lots, etc... is prohibited. Drop cloths or plastic needs to be used to protect surfaces in the studio.
   
   
10. Flammable materials must be stored in the safety cabinet located in each studio.
    
    By signing this policy statement, I agree to the above terms and conditions.

       Signature                                                Date

Guidelines for the Senior Exercise in Studio Art

     A Senior Art Major meeting is held in Bexley Seminar Room during the Fall Semester to answer questions about the up coming Senior Exercise and to schedule the group exhibits.
     Classes resume after Spring Break, and thereafter the senior studio art exercises run on a Monday through Saturday schedule. The first group will begin installing on the Thursday and Friday before classes resume during regular Library hours, as the Library is not open on weekends during Spring Break. De-installation of each exhibition and gallery clean up will be on Friday between 7pm and midnight and on Saturday between 10:00am - 1:00pm. Each group will meet with the Gallery Director in the gallery and be evaluated "pass" or "fail" on Saturday at 1:15pm for clean up, storage room neatness and wall preparation. If you fail clean up, you will lose one full point on your individual orals score.
     The next group will begin installing their exhibition on Saturday between 2:00pm - midnight and Sunday 10:00am-2:00am. Gallery hours for Senior Exercise weeks will be 8:30am-7:00pm, Tuesday through Friday, and closed Saturday, Sunday and Monday except for Monday evening openings. Tuesday through Thursday evenings are reserved for orals.
     Publicity for the shows is up to each individual group. In such publicity, please refer to your show as a SENIOR EXERCISE IN STUDIO ART. Your opening will be better attended if you do advertise, particularly if you list your names. You are also required to submit a short publicity blurb about your work/show to your Advanced Studio Instructor two weeks before spring break. The Public Affairs office will place publicity in local newspapers.

The Senior Exercise in Studio Art consists of three parts:

     The Abstract - you are required to submit a one-page, typewritten document which describes the main developments of your work over the four years you have been at Kenyon (or elsewhere). This document, broadly speaking, should address any or all of the following questions: Why are you working in your chosen media(s)? Who or what have influenced your work? What are your concepts and how have you developed them? What criteria do you use to judge your own work? How do you describe the growth of your work? As the work for your show developed, what changes have taken place and why have you made those changes?
Writing this abstract is a means for you to better understand what you are doing and why you are doing it. When prepared thoroughly, this document also serves as the foundation for the oral defense of your work, which is part of the Senior Exercise. The abstract must be submitted to the Art Office two weeks before Spring Break. The faculty will read it, offer suggestions for improvement, and return it to you by the following Friday. The final version of your abstract will be submitted the Friday before your exhibition opens.

     The Exhibition - you will arrange among yourselves to be a participant in a 3 or 4 person exhibit. Each group plans and arranges gallery announcements, installation format, and openings - the principal being that you need the experience of putting an exhibition together. The primary aspect of the exhibition, however, is the work itself. Your exhibition will come from a focused body of work completed primarily during your senior year. You are expected to display the work in a professional manner: proper framing, mounting, displaying, or other presentation. You are also expected to install an exhibition with a sufficient quantity of work to clearly show the direction of your concepts and development of your skills.
     As a record of this show, you are required to submit 5 digital JPEG files on a labeled CD. Each JPG file must be a minimum of 300ppi and approximately 7x9" image with borders and minimum 8MB. In addition, the CD must be accompanied by 5 labeled, high-quality prints on 8.5x11 paper (one print of each of the JPEG images). In addition a sixth, cover page (8.5x11) containing labeled images of the 5 jpegs must also be submitted. These images should be a minimum of 2" in size. CDs should be labeled with your name, the complete titles of the artworks, the media, dimensions of the artwork, and date completed. To help you produce images of the quality required, the Department will schedule two REQUIRED demonstrations, one for digital SLR documentation and one for printing techniques of artwork early in Spring semster.
      CD's and prints must be submitted within ten days of your exam week to your Advanced Studio instructor, who will determine if they are of sufficient quality. You will not be given Senior Exercise results until these CD's and 5 prints are submitted. Failure to submit the CD and 5 prints will be cause for failing the Senior Exercise and graduation will not take place. A video taped documentation of the exhibit can be submitted as a supplement.
     If your project is primarily screen-based video, you must submit your video documentation on DVD in the form of Quick Time Movie. In addition, you must submit a CD that includes 5 stills from the video, in the form of JPEG files, meeting the above requirements. The CD must be accompanied by 5 labeled high-quality prints on 8.5x11 paper.

     The Orals - during each week-long exhibition, you will meet individually with each member of the studio faculty for 30 minutes for a total of two and a half hours of orals. During the first 15 minutes you will direct the presentation, describing the primary aspects of the work exhibited. The abstract serves as a foundation for the issues to be addressed. The remaining 15 minutes of each session is a time for faculty to ask questions and to give reactions to the work exhibited or concepts presented. During your orals, you may bring in supplementary work or slides of work that are not part of the exhibition. These works may show how certain ideas or techniques were developed, or they may show directions that were explored but subsequently not followed. This should not be a general overview of your work at Kenyon.

     Grading - After the oral presentation, faculty members score each individual in two categories: the quality of the work is graded on a scale of 1 to 6, with 6 being the highest; the strength of the presentation is graded 1 to 4, with 4 being the highest. Of the ten scores submitted for each student, the high and low scores of each category (quality and presentation) are discarded to eliminate potential unjust bias. The remaining 6 scores are then averaged. To be awarded PASS WITH DISTINCTION, a student must score above 4.5. A student who scores above 2 passes the Senior Exercise; a student who scores 2 or below fails.
Students missing any of their scheduled orals will receive a "0" for that particular oral exam. Missed orals may not be re-scheduled except in cases of family or health emergencies.
     When the slide documentation is approved by your Advanced Seminar teacher and submitted to the Art Office, you may pick up your letter notifying whether the Senior Exercise was passed or not. No number grades are given. After all seniors have completed the Senior Exercise, turned in the required 5 slides, and filled out the Studio Art Department evaluation form a notice will be posted announcing who passed with DISTINCTION.

     Senior Exercise Expense Reimbursement - The art department realizes the extreme costs associated with the production of your Senior Exercise and we have found a way to help you. Through the Mesaros Art Fund and the A. Burns Art Fund there will be available a maximum amount/person, determined by the Studio Art Faculty at the beginning of each academic year, to help defray the cost of expenses. In order to receive these funds, you need to bring receipts that support your Senior Exercise to the Art Department Office all at on time. Only one check per Senior Art Major will be issued. You have until the Friday after the last week of Senior Exercises to turn in your receipts.

Photographing Your Artwork

1. 2-D work should not have a glass or plexi covering to avoid reflections. Use a solid white, gray, or black background (a clean painted wall, seamless paper, or large sheets of drawing paper). For sculptural pieces, you might need a backdrop stand and photo backdrop paper or black velvet (faux versions are cheaper). If you shoot sculptures in your studio, avoid any busy background that detracts from the artwork.

2. A tripod and cable release will prevent blurred pictures at slow shutter speeds. Do not use a wide-angle lens. If using a zoom lens, set it mid-range, so the spatial distortion created by all zoom lenses is minimized.

3. Indoor, outdoor, and florescent light all have different "color balance". If you shoot film, you must have Tungsten-balanced film for indoor, and Daylight-balanced film for outdoor exposures. If you are using a digital camera, SET THE WHITE BALANCE to the appropriate setting. AUTO or INCANDESCENT are recommended. Your camera may be able to fine-tune either of these settings, press the WB button and rotate the sub-command dial. Lower values make slightly more yellow, higher values lend images a bluish tinge.

4. Do not mix light sources. Set up in a room where overhead lights (florescent or bulbs) can be turned off and windows covered.

5. For 2-D work, set one light on each side at a 45-degree angle. The distance of the lights from the work is determined by doubling the distance the camera is set from the work.

6. If using a digital camera, set IMAGE QUALITY. If you know how to work with RAW files, then choose a RAW setting (for Nikons, this will be NEF), if not then use the next highest setting (JPEG FINE).

7. For film, a light meter is recommended to get the proper exposure. Take a reading at the center of the artwork, and at the four corners. Adjust the lights so all the readings are the same. Photograph the largest piece first and continue down in size and the setting will remain correct for all.

8. For digital cameras, CHECK THE ISO SETTING. Set it to ISO 100 or ISO 200. Then, set the APERTURE by stopping down to f11 or higher (f16, etc.). For sculpture, you may need higher Aperture/f-stop settings, in order to get a deeper depth-of-field. The camera will then attempt to determine the SHUTTER SPEED if you are in Auto Mode. Or, in Manual Mode you can put in the Shutter Speed suggested by your meter. Take a photo, if the photo does not look good, you can go into Manual Mode and increase or decrease the Shutter Speed accordingly.

9. Fill the frame in the viewfinder with the image of your artwork. Carefully align each image in the camera, so the sides are straight up and down, and tops and bottoms are level. Even if you cannot square all the lines, if the entire piece of art is in sharp focus, the image can be squared in Photoshop or other image manipulation software.

10. Activate the self-timer, so any motion from pushing the shutter button or you walking nearby is dissipated by the time the shutter actually goes off.

11. Shoot at least three shots of every piece - one shot at what the meter indicates is the correct exposure; one stop over-exposed; and at least one under-exposed - even if it looks great on the LCD. Dark art needs more exposure (wider apertures - smaller f numbers), and lighter work needs less (smaller apertures - bigger f numbers).

12. Playback images on the LCD often, to be certain they are in focus and the exposure is as close as possible to correct. If your camera lets you enlarge the image, do it.

13. Some digital cameras have adjustments to TURN OFF the automatic flash.

14. Digital cameras have Auto Focus settings, double check that the camera you are using has the appropriate setting chosen.

Additional considerations for video installations:

1. Sometimes a wide angle lens is helpful in getting an overview shot.
   
2. TV and projector images turn blue in tungsten light, and are usually much brighter than the rest of an installation. Sometimes you can adjust this by putting an 81A filter over a TV monitor or projector lens.
3. It may be easier to shoot the images digitally on a high quality digital camera (at least 5 megapixels) then adjust the color in the computer or combine parts of the exact same shot that you have bracketed (widely) for exposure, (Take an exposure reading from the TV/projection as well as the other areas of the installation.) You may have to add a little light to get enough visual information in the non-video part of the image.

The Robert H. Hallstein Memorial Award in Art
Established by the Harold Hallstein Family and Friends in memory of Robert H. Hallstein, Class of 1976. The award is granted to a senior art major whose consistently high level of artistic accomplishment in studio art courses is recognized by the art department faculty.

The Peterson Prize in Art
Established by Mr. and Mrs. Norman H. Peterson, parents of M. Kristina Peterson, Class of 1973. The award is granted to a senior art major whose consistently high level of artistic accomplishment in studio art courses is recognized by the art department faculty.

The Margaret E. Leslie Prize in Art
Established by Mr. and Mrs. William C. Leslie in memory of their daughter, Margaret E. Leslie, Class of 1975. The award is granted to a senior art major whose consistently high level of artistic accomplishment in studio art courses is recognized by the art department faculty.

The Wycoff A. Sword Memorial Prize in Art
Established in 1976 by Nelson B. Wold of the Class of 1976, in honor of his grandfather, Wycoff A. Sword. The award is granted to a senior art major whose consistently high level of artistic accomplishment in studio art courses is recognized by the art department faculty.

Studio Art Department Resources

Magazines in Library

Aperture Art in America
Art Forum Artspace
Arts Art News
Dialogue Flash Art
High Performance International Review of African
New Art Examiner American Art

Bookstores, Stores

Columbus, Ohio:

OSU Fine Arts Library
OSU Campus/Wexner Center
15th and N. High
Wexner Ctr for the Arts Bookstore
OSU, 15th & High
Fine Arts Workshop
Art Supplies
2583-1/2 N. High Street
Yankee Trader's
weird stuff
463 N High St (near short north)
Hechinger's Hardware
2200 Morse Road
Salvation Army Thrift Shop
1955 Parsons Ave.
570 S. Front Street (Brewery District)
Volunteers of America
1187 W. Broad Street
1958 Parsons Ave.
2578 summit (south of Hudson)
Majaestic Paint
surplus center
1665 Parson Ave
Mid West Photo Supply
3313 N High Street
The Woodworkers Store
2500 E. Main Street
Cord Camera
1132 W 5th Ave.
Color Plus
slide development
252 N 5th Street
Dick Blick
6486 Sawmill Road
Utrecht Art Supplies
612 N High Street
Prizm
Art Supplies
Polaris, Columbus
Teds E6
Slide service & custom color printing
High Street, Clintonville
ONC Photo Lab
Color development, medium format
Ackerman Road

Mt. Vernon:

Carter Lumber
Rt. 13 (14620 Cassell Road)
Ross Brothers Salvage
106 Tilden Ave. (behind Clever Lumber)
Mt. Vernon Machine & Tool
8585 Black Jack Road
Kepple Sheet Metal
1010 Vernonview Drive
G. R. Smith Hardware
101 S. Mulberry Street
Smalls Sand and Gravel
10229 Killduff Road, Gambier
Mt. Vernon Hardware Co.
310 W. Vine Street
84 Lumber
665 Harcourt Road

Magazines in Art Office (must be checked out by Admin. Assistant)

Art News Art Journal
Dialogue New Art Examiner
Art in America

Mt. Vernon, Coshocton Road:

Dollar General
Krogers
TSC Farm Sales
Odd Lots
Dollar Tree
Lowe's
Wal-Mart
K-Mart

Other - Mail Order Catalogs:

American Science & Surplus
601 Linden Place
Evanston, IL 60202
Freestyle - photo supplies
5124 Sunset Blvd.
Los Angeles, CA 90027
Calumet - photo supplies
890 Supreme Drive
Bensenville, IL 60106
B & H Photo Supply
119 W 17th Street
New York, NY 10011
Dick Blick
P.O. Box 1267
Galesburg, IL 61402-1267
Pearl Paint
308 Canal Street
New York, NY 10013
Light Impressions
439 Monroe Ave, Box 940
Rochester, NY 14603-0940

Galleries:

Olin Library Gallery
Kenyon College
Wexner Center for the Arts
15th & High St., Columbus
Martin Luther King Jr. Ctr for Performing & Cultural Arts
867 Mt. Vernon Ave., Columbus
Columbus Museum of Art
480 E. Broad Street, Columbus
ACME Art
Indianola Road, Columbus
Columbus Cultural Arts Center
139 W Main Street, Columbus
Fort Hayes Arts Center
546 Jack Gibbs Blvd., Columbus
Riffe Gallery
77 S. High Street, Columbus
OSU Gallery, Art Department
128 N Oval, Hopkins Hall, Columbus
Frank Hale Arts Center (OSU)
153 W 12th Ave., Columbus
Burke Hall Art Gallery
Denison Univeristy, Granville
Ross Art Museum
60 S. Sandusky Street
Deleware, Ohio 43015
Roy G. Biv Gallery
High Street, Short North, Columbus
College of Wooster Art Museum
University Street, Wooster
Rebecca Ibel Gallery
High Street, Short North, Columbus

ARTclub:
The ARTclub is an organization that encourages support and opportunities for students engaged in art making. Members promote a creative culture at Kenyon College through exhibitions, performance, and other events they develop in a collaborative environment.

The Craft Center:
Kenyon's Craft Center provides space for visual arts production and informal instruction in a range of areas, including bookmaking, ceramics, glasswork, knitting, quilting, jewelry making, photography, stained glass, and woodworking. Most programs are free or low cost, and the center is open seven days a week during the College year.

Horn Gallery for the Arts:
The Horn Gallery was founded in 1994 by students to showcase their artistic talents. Since then, the Horn has evolved into a popular student organization, a gathering place where Kenyon community members exchange ideas; share knowledge; and enjoy art shows, performances, plays, readings, weekly coffeehouses, and student-band practices.

Olin Gallery:
Internationally known artists exhibit in this gallery, as well as senior art majors. Check out the current exhibition schedule at: http://www2.kenyon.edu/ArtGallery.

Regional Options:
Kenyon students can also enjoy the art galleries, events, and organizations in Columbus, including that city's exciting Short North arts district. For current information on what is happening, check out the Columbus Art website: http://www.columbusarts.com

Off-Campus Study Programs where other art students have gone

GLCA: New York Arts Program
GLCA: New York Arts Program
     Japan Study Program
     Glasgow School of Art
CIEE: Alcala
CC-CS: Cuba
Butler: Univeristy of Auckland
Butler: Tasmania
Butler: COPA - Santiago
Butler: Univeristy College Cork
Butler: University of East Anglia
Butler: NUI-Galway
Butler: Glasgow School of Art
Butler: Westminster University
ACM: India Studies
ACM: China
Arcadia: University of Glasgow
SIT: Brazil
SIT: Melbourne
Antioch: Buddhist Studies
IES: Milan
IES: Vienna
SACI: Florence
University of Illinois: Vienna
Beaver: University of Glasgow
Beaver: University of East Anglia
Beaver: Glasgow School of Art
Beaver: Griffith University
Beaver: University College London
Vassar College Film
College Year in Athens
Syracuse: School of Art & Design
Knox College: Besancon
SFS: Mexico
SFS: Australia
SFS: Kenya
Center for Cross Cultural Study: Seville
Slade School of Fine Arts
Pitzer College
DIS: Denmark
APA: Paris
Kansai Gaidai, Asian Studies
     Prog in Osaka
Sweek Briar: Paris
Lacoste School of the Arts