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Painter

 

Purpose of the Visual Arts Department:
The Visual Arts Department will provide a quality visual arts education based on a foundation of both traditional and contemporary practices and ideas. Consistent with the mission, philosophy and institutional purposes of Casper College, this education serves as the foundation for further study and meaningful participation in contemporary society.

Vision Statement:
Graduates of the Visual Arts Department with Associate of Fine Art studio degrees will have a basic understanding of drawing, two and three-dimensional design and media and a basic understanding of the history of art. Graduates of an Associate of Arts degree in Art will have an overview of studio foundations and art history. Graduates of the Associate of Arts Museum/Gallery Studies degree will have an understanding of basic operations of a museum or gallery and an overview of the history and changing role of these facilities in society.
Painter
Contact Information:
Kathy Coe
Academic Assistant
(307) 268-2606
MU 137
Weblink
Mike Olson
Program Director
(307) 268-2509
VA 111
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Click to view the Campus Art Book
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MISSION STATEMENT
CASPER COLLEGE SCHOOL OF FINE ARTS & HUMANITIES~ VISUAL ARTS DEPARTMENT

The Visual Arts Department will provide a quality visual arts education based on a foundation of both traditional and contemporary practices and ideas. Consistent with the mission, philosophy, and institutional purposes of Casper College, this education serves as the foundation for further study and meaningful participation in contemporary society.

Visual Arts @ Casper College
  • Art History/Travel
    Students enroll in three semesters of art history, and have the option to enroll in special topics courses, such as Asian Arts and Cultures. The travel program allows students the opportunity to see the actual art and monuments that are reviewed in art history seminars.
    Recent Travel Abroad with Visual Arts Faculty trips include Paris, London, Rome, Florence, Athens, and Crete.

  • Ceramics
    The ceramics class teaches both hand building and throwing techniques. The studio boasts 22 wheels, five electric kilns, three high fire gas kilns, a soda/salt kiln, two wood kilns and a Raku kiln.
    Workshops with guest professional artists are offered each semester.

  • Foundations
    The Visual Arts Department teaches classes in 2D and 3D design that prepare students for more specialized classes like painting, sculpture and graphic design. With these foundation classes, students are able to deal with more complex art and design challenges.

  • Gallery
    The Goodstein Visual Arts Gallery displays work by professional artists from around the country and coordinates special artist workshops and lectures.

  • Graphic Design
    The Visual Arts department has a state-of-the-art computer lab. Each computer has photo editing, illustration, animation, video editing and web design Adobe CS3 software. The department also has photo quality printing and scanning equipment. It is here students harness technology to explore creative possibilities.

  • Metals
    The metals class focuses primarily on fabrication, with facilities for soldering, casting and enameling.
    The studio has a range of hand tools and equipment, including rolling mills, anvils, personal work benches, burnout kilns, vacuum caster, buffing machine and hydraulic press.

  • Painting and Drawing
    The Visual Arts department offers multiple classes in painting. Painting classes explore a wide variety of techniques in both realistic and abstract concerns.
    Drawing courses include Drawing I, Drawing II and Life Drawing.

  • Photography
    The Visual Arts department photography program is a great way to springboard your photography career. We offer quality classes in a comfortable setting. With a ratio of approximately ten students to each instructor you will have the opportunity to work closely with your instructor to make the most out of your college experience.

  • Printmaking
    Relief or Intaglio printmaking is offered every semester. The studio has four presses, hot plate, two rolling slabs, and ferric chloride baths for copper plates.

  • Sculpture
    The sculpture studio has facilities that accommodate mig, arc, and oxy acetylene welding as well as a fully functioning foundry for casting bronze and aluminum.
    In addition, the studio has a full range of power woodworking equipment.
  • Justin Hayward
    • Phone: (307) 268-2663
    • Office: VA 121
    • Weblink
  • Valerie Innella Maiers
    • Phone: (307) 268-2060
    • Office: VA 128
    • Weblink
  • Michael Keogh
    • Phone: (307) 268-2697
    • Office: VA 125
    • Weblink
  • Nancy Madura
    • Phone: (307) 268-2507
    • Office: VA 115
    • Weblink
  • Michael Olson
    • Phone: (307) 268-2509
    • Office: VA 111
    • Weblink
  • Linda Ryan
    • Phone: (307) 268-2671
    • Office: VA 105
    • Weblink

Museum Studies Class at NIC

Museum Studies Class at NICART 1000 General Art: Studio (2L,4LB,3CR)[E][CA]:
General Studio Art is an introductory hands-on studio art class for non-art majors designed to give students
practical experience and appreciation for the arts through a variety of media. Four media will be covered in this class: drawing, ceramics, relief printing and other media.

ART 1010 Introduction to Art (3L,3CR)[E][CA]:
A survey of the arts produced by humans from prehistory through contemporary trends. Emphasis on the
basic elements of art and contemporary movements in painting, sculpture, and architecture. For non-art majors only.

ART 1015 History of Graphic Design (3L,3CR):
This course discusses historic and contemporary design history with a focus on formal and aesthetic issues.


ART 1006 Drawing I (2L,4LB,3CR)[CA]:
Introductory drawing emphasizing a wide range of drawing materials and methods of visual study. Fundamentals are stressed.


ART 1065 Perspective Drawing (2L,4LB,3CR):
This course will present concepts and skills in drawing the illusion of objects in three-dimensional space using principles of geometry to develop spatial
logic and imagery. Theories, principles and conventions of formal and informal systems of structural drawing will be studied. Formal systems will include such topics as one, two, and three point perspective, elliptical perspective, foreshortening, compound forms, and tonal development. Informal, analytical systems will explore isometric methods. Study can be applied to fine arts, illustration, and three-dimensional imagery.


ART 1110 Foundation: Two-Dimensional (2L,4LB,3CR)[E]:
Studies and sequential exercises in the basic elements of design: shape, line, value, color, and texture. Exploration of the relationships of these elements with emphasis on composition.


ART 1120 Foundation: Three-Dimensional (2L,4LB,3CR)[E]:
A lecture and problem solving course in the basic elements and principles of three-dimensional design with emphasis on composition.


ART 1130 Foundation: Color Theory (2L,4LB,3CR)[E]:
Studies and sequential exercises in color theory. Exploration of the relationships of hue, value, and chroma, studied in progressive exercises to enhance student’s awareness of color and its aesthetic relationships.


ART 1150 Photography I (2L,4LB,3CR) [E][CA]:
A beginning course in still photography covering the operation of cameras and photographic equipment, processing of black and white films and prints, design and the history of photography. Assignments stress a variety of subjects emphasizing the fine art of photography.


ART 1160 Photography II (2L,4LB,3CR):
A continuation of ART 1150 covering advanced camera and darkroom techniques including the Zone System, manipulated processes such as solarization, multiple printing, photograms, and toning. Emphasis is on the fine print and art of photography. Prerequisite: ART 1150.


ART 1250 Water Based Media I (2L,4LB,3CR):
The basic techniques in watercolor painting, including the preparation and use of materials, and the presentation of completed work.

ART 1260 Water Based Media II (2L,4LB,3CR):
The basic techniques in watercolor painting, including the preparation and use of materials, and the presentation of completed work. A continuation of ART 1250. Prerequisite: ART 1250.


ART 1300 Museum Studies (3L,3CR):
The course provides an understanding of basic operations of a museum or gallery such as exhibit design, education, collections management, marketing, and an overview of the history and changing role of these facilities in society. The course also involves travel to Casper museums to explore their missions, services and
collections.


ART 1345 Bronze Casting (2LB,1CR)[E]:
The course is designed to acquaint the student with the basic principles of lost wax casting through traditional foundry techniques. Emphasis is on completion of a bronze casting. Procedures include wax working, mold investment, and burnout, foundry methods and finishing procedures.

ART 1495 Photography Workshop (2L,4LB,3CR):
A course allowing students to work their proficiency levels from beginning to advanced photography with individualized instruction. A variety of topics may be studied. Prerequisite: ART 1150. (Summer Semester)

ART 2016 Field Sketching (2L,4LB,3CR):
This course presents the basic drawing skills needed to record accurate observations of the natural environment. These skills can benefit other visual art disciplines and/or serve as a foundation for drawing itself as a major discipline.

ART 2006 Drawing II (2L,4LB,3CR):
Continuation of the principles of drawing, including contemporary esthetics and the human figure. Prerequisite: ART 1006. ART 2010 Art History I (3L,3CR)[E][CA]: A
study of the visual arts produced by humans from prehistoric times to the Renaissance. This course is required of all art majors.

ART 2020 Art History II (3L,3CR)[E][CA]:
A study from the Renaissance to Rococo. Political, social, and economic factors relative to the visual arts will be considered. This course is required of all art majors.

ART 2023 Collections Management (3L,3CR):
This course is a practical study of the duties of a museum collections manager, including the documentation, loaning, digitization, preservation, storage
and care of collections.

ART 2025 Women In Art (3L,3CR):
A general introduction to depictions of women in art from the earliest known artifacts produced by humans to understand how women were viewed in ancient societies, as well as women's involvement in the visual arts from the Middle Ages to the present with emphasis on the 20th century. Questions
that will be posed include: "how does gender affect art?" and "how do stereotypes of women affect viewing works of art?" Political, social, and economic factors will
be examined in relation to women artists and their times to further understand artistic production.

ART 2035 Art History III (3L,3CR):
A study of the visual arts produced throughout the late 18th to 20th century in Europe and America. Political, social, and economic factors will be considered as they affected artistic style.

ART 2050 Life Drawing I (2L,4LB,3CR):
The human figure is used as primary subject. Proportion, anatomy, movement, portraiture etc. are studied. A variety of drawing materials are used. Prerequisite: ART 1006.

ART 2060 Life Drawing II (2L,4LB,3CR):
The human figure is used as primary subject. Proportion, anatomy, movement, portraiture etc. are studied. A variety of drawing materials is used. Prerequisite: ART 1006 and ART 2006.

ART 2073 Introduction to Art Education (3L,3CR):
A survey of the history of art education focusing on influential 20th century educators, as well as discussion of contemporary theories in the field such as DBAE, Critical Theory, and Visual Thinking Strategies. This class will also focus on developing curriculum for the art education classroom with discussion of the
stages of aesthetic development as well as assessment within an art course.

ART 2075 Illustration I (2L,4LB,3CR):
This course is an introduction to the use of type, illustration, and expressive design to communicate visually. It consists of a series of sequential exercises to promote creative problem solving techniques and to master basic technical skills. Prerequisite: ART 1006, ART 1110, and ART 1130.

ART 2076 Illustration II (2L,4LB,3CR):
A continuation of the study of the exploration of visual communication concepts and design principles allowing students to develop more personal expressive ways of solving visual communication problems, and to expand their technical skills and use of multiple media. Prerequisite: ART 2075.

ART 2090 Printmaking I: Relief (2L,4LB,3CR):
A basic course in relief printmaking including black and white and color linocut, woodcut and plastic base printing techniques. Prerequisite: ART
1006 and ART 1110. (Fall semester.)

ART 2095 Printmaking II: Intaglio (2L,4LB,3CR):
A basic course in intaglio printmaking including etching, hard and soft ground, dry point, engraving, and aquatint techniques. Monoprints and monotypes will also be explored. Prerequisite: ART 1006 and ART 1110. (Spring semester.)

ART 2105 Digital Design II (2L,4LB,3CR):
Continued study of the Macintosh computer as a design tool to create and manipulate type and images and combine them. Prerequisite: ART 1110.

ART 2110 Typography (2L,4LB,3CR)[E]:
This course offers students a comprehensive introduction to typography through exploration and experimentation with letterforms and page layout for expressive
communication. The course will cover the fundamental typographic principles, font recognition, and analysis of both historical and post-modern design theory. Emphasis will be placed on content, form and technique for effective use of typography in ads, posters, newsletters and other visual communications. Prerequisite: ART 1110 and ART 2122.

ART 2112 Graphic Design I (2L,4LB,3CR) [E]:
Graphic Design is a communication of ideas using type and images. This course offers students a comprehensive introduction to the field of graphic design that stresses theory and creative development in discipline-specific information; hands-on practice and an understanding of time-honored principles. Although graphic styles and the tools of the graphic design field are constantly evolving, the fundamental structures and principles of good design remain constant. Prerequisite: ART 1110, ART 2122.

ART 2113 Introduction to Time Based Media (2L,4LB,3CR):
This course is designed to introduce graphic design students to video and animation as a medium for art and design. The course will cover basic video editing skills and effects and how to use a video camera to create cogent and aesthetically pleasing time based works. The course will also cover DVD Authoring in
DVD Studio Pro. Prerequisite: ART 2122.

ART 2122 Digital Design I (2L,4LB,3CR):
An introductory course in the use of the Macintosh computer as a design tool to create and manipulate images and combine them. Prerequisite: ART 1006
and ART 1110.

ART 2130 Graphic Design II (2L,4LB,3CR):
This course offers students further exploration of concept development and the language of symbols combined with further exploration into the aesthetic issues of type. Emphasis will be placed on content, form and technique for effective use of graphic design and typography in ads, posters, newsletters, desktop publishing and other visual communications. Prerequisite: ART 1110, ART 2122, ART 2110, ART 2112; must also have a working knowledge of Adobe CS4.

ART 2141 Professional Practice in the Arts I (1L,1CR):
This seminar will focus on practical aspects of artistic practice such as preparing a professional portfolio and resume, generating an exhibition, understanding careers in art and preparing work for museum and/or gallery consideration. This course is required of all art majors.

ART 2150 Color Photography I (2L,4LB,3CR):
A study of the basic principles, concepts, and aesthetics used in color photography. Will cover negative and positive film processing and printing including color balance. Contemporary trends in color photography and basic color theory will also be reviewed. Prerequisite: ART 1150, ART 1160 and permission of the instructor.

ART 2160 Color Photography II (2L,4LB,3CR):
Continued study of various color developing and printing processes with an emphasis on experimental color photography. Contemporary trends in color photography will also be reviewed. Prerequisite: ART 2150 and permission of the instructor.

ART 2180 Alternative Processes (2L,4LB,3CR):
A course in experimental photographic techniques and nonsilver processes including cyanotype, gum prints, van Dyke prints, Polaroid transfer, and solar etching among others. Prerequisite: ART 1150, ART 2160, and permission of the instructor. (Spring semester.)

ART 2210 Painting I (2L,4LB,3CR)[E]:
An introductory painting course presenting a variety of methods and subjects. Prerequisite: ART 1006.

ART 2220 Painting II (2L,4LB,3CR)[E]:
An intermediate painting course presenting a variety of methods and subjects. Prerequisite: ART 1006 and ART 2210.

ART 2230 Painting III (2L,4LB,3CR)[E]:
A painting course in which emphasis is on the aesthetic concepts of contemporary movements. Students are encouraged to experiment within the framework of selected projects and to explore individual ideas and broaden experience. Prerequisite: ART 2210, ART 2220, and permission of the instructor.

ART 2240 Painting IV (2L,4LB,3CR)[E]:
A painting course in which emphasis is on the aesthetic concepts of contemporary movements. Students are encouraged to experiment within the framework of selected projects and to explore individual ideas and broaden experience. Prerequisite: ART 2210, 2220, 2230, and permission of the instructor.

ART 2245 Digital Photo for Art Majors (2L,4LB,3CR):
Investigation and application of some of the fundamentals of pictorial arrangement and expression within the realm of digital photography. Assignments are based on compositional problems. Some of the primary concerns are pictorial structure, balance, movement, contrast, theme, spatial relationships and color relationships. Additionally, the design and conceptual development of an assignment are emphasized coupled with high quality execution, originality and clarity of
presentation. Prerequisite: ART 1110.

ART 2310 Sculpture I (2L,4LB,3CR):
A lecture and practice course applying the principles of three-dimensional form to sculptural expression. The course will focus on experience in substitution, (casting), additive and subtractive media and techniques. Prerequisite: ART 1120.

ART 2320 Sculpture II (2L,4LB,3CR):
A continuation of ART 2310. This course will focus on experience in fabrication, (welding), and mixed media as a means of expression. Prerequisite: ART 1120 and
ART 2310.

ART 2330 Sculpture III (2L,4LB,3CR):
A lecture and practice course exploring in depth, the use of functional threedimensional vocabulary to achieve sculptural expression. This course will focus on building the student’s skill levels, both technically and conceptually. Prerequisite: ART 2320.

ART 2340 Sculpture IV (2L,4LB,3CR):
A continuation of ART 2330. This course will focus on experience in combining materials and problems of the student’s own choosing with guidance by the instructor to give the student a wide range of expression in various materials. Prerequisite: ART 2330.

ART 2345 Metal Casting (2L,4LB,3CR):
An examination of the principles of a threedimensional form with a concentrated study of the casting process in sculpture, including bronze and aluminum metals
and on occasion, other casting materials. In addition, this course will acquaint the student with the basic methods of lost wax casting through traditional foundry
processes including wax working, mold investment, burnout, and finishing procedures. Prerequisite: ART 1120 and ART 2310 or permission of the instructor.

ART 2346 Metal Casting and Fabrication (2L,4LB,3CR):
This course will focus on the creation of sculpture using metal. Instruction includes solid investment casting using bronze and aluminum, chasing and patina work. This semester will also include instruction in oxyacetylene, stick, (arc) and MIG welding as well as plasma cutting. Prerequisite: ART 1120 or 2310 is ecommended.

ART 2350 Metals I: Jewelry (2L,4LB,3CR):
An introduction to the basic techniques in fabrication and design in nonferrous metals. Emphasis will be on the traditional and contemporary means of fabrication and forming.

ART 2360 Metals II: Jewelry (2L,4LB,3CR):
A continuation of ART 2350. Emphasis will be on the traditional and contemporary means of casting. Prerequisite: ART 2350.

ART 2370 Metals III: Jewelry (2L,4LB,3CR):
A course designed around a set of specific problems for advanced jewelry and metal forming concepts. This course will focus on technical development and personal imagery. Prerequisite: ART 2360.

ART 2375 Metals IV: Jewelry (2L,4LB,3CR):
A continuation of ART 2370. This course will focus on problems of the student’s own choosing with guidance by the instructor. Prerequisite: ART 2370.

ART 2408 Introduction to 3-D Modeling (2L,4LB,3CR):
This course is designed to introduce graphic design students to modeling and texturing techniques in Maya. Prerequisite: ART 2122.

ART 2410 Ceramics I (2L,4LB,3CR)[E]:
This is an introductory class in the fundamentals of traditional and contemporary ceramic making by means of hand building and throwing on the wheel. Students study some of the rich history and traditions of ceramics as well as decorating techniques and different firing possibilities.

ART 2420 Ceramics II (2L,4LB,3CR)[E]:
This is a continuation of Ceramics I, expanding techniques of throwing on the wheel as well as hand building, with more complex assignments. Students start to learn about loading and firing kilns and take more responsibility for firing their projects. Prerequisite: ART 2410 or permission of the instructor.

ART 2430 Ceramics III (2L,4LB,3CR)[E]:
This course offers advanced throwing on the wheel and hand building assignments with more independence in kiln firing. High temperature firing techniques and different styles of kilns become available for study. Prerequisite: ART 2420 or permission of the instructor.

ART 2440 Ceramics IV (2L,4LB,3CR)[E]:
Students are challenged with advanced throwing or hand building assignments and are required to fire their own work with a technique best suited for the assignments. Prerequisite: ART 2430 or permission of the instructor.

ART 2470 Art Museum Training Internship (1-3CR) (Max. 6):
The internship gives the student exposure to museum work through first hand experience. Prerequisite: Student must be enrolled in the art department, permission of the instructor, and interview with Nicolaysen Art Museum staff member and instructor. The special projects courses are designed for the student who has recently completed all the offered courses in a given area and still requires or wishes continued exploration of advanced study in that area. The special projects are designed only as a continuation of previous courses, not personal endeavors of the student.

ART 2480 Special Projects: Drawing (*LB,1- 3CR) (Max. 6):
*Laboratory to be arranged. Advanced drawing emphasizing individualized interests and projects. Prerequisite: ART 1006, 1060, 2050 and permission of the instructor.

ART 2481 Special Projects: Illustration (1-3CR) (Max. 6):
An advanced course in methods and techniques used in illustration with emphasis on developing individual style. Prerequisite: ART 2076 and permission of the instructor.

ART 2482 Special Projects: Painting (1-3CR) (Max. 6):
An advanced painting class for the student wishing to take further painting credit with a specific instructor. Prerequisite: ART 2210, ART 2220, and permission of the instructor.

ART 2483 Special Projects: Printmaking (1-3CR) (Max. 6):
Special problems in advanced relief, intaglio and monotypes, and other printmaking techniques with approval and directional guidance of the instructor. The course involves the development of a total idea and project and the completion of a portfolio of prints. Prerequisite: ART 2091, ART 2150, and permission of the instructor.

ART 2484 Special Projects: Photography (1-3CR) (Max. 6):
Students will work on special problems or projects of their own choosing with approval and directional guidance of the instructor. The course involves the development of a total idea and project and the completion of a portfolio of prints. Prerequisite: ART 1160, ART 2095, and permission of the instructor.

ART 2485 Special Projects: Ceramics (1-3CR) (Max. 6):
Assignments are of the student's choice with approval and guidance of the instructor based on credit hours. All work is done and finished at their own pace, meeting with the instructor as needed and at mid-term and finals. Prerequisite: ART 2440 or permission of the instructor.

ART 2487 Special Projects: Sculpture (1- 3CR) (Max. 6):
Special problems of the student’s own choosing with directional guidance by the instructor. Emphasis will be placed on the development of a total idea, whether it is one work or several. Prerequisite: ART 2320 and permission of the instructor.

ART 2488 Special Projects: Metals (1-3CR) (Max. 6):
Special problems in jewelry of the student’s own choosing with directional guidance by the instructor. Emphasis on design and technical skills. Prerequisite:
ART 2360 and permission of the instructor.

ART 2489 Special Projects: Graphic Design (1-3CR) (Max. 6):
An advanced study further exploring specific design problems with emphasis on development of ideas and flexibility of approach. Prerequisite: ART 2112 and permission of the instructor.

ART 2490 Topics: (Subtitle) (1-3L,1-3CR) (Max. 12):
A special seminar in various topics related to art. Prerequisite: permission of the instructor. ART 2990 Museum Training Internship (18LB,6CR): This course is designed for practical experience in a museum in areas such as collections management, education, development, or exhibition design. For museum/gallery studies majors only. Prerequisite: ART 1300.

ART 2990 Museum Training Internship (18LB,6CR):
This course is designed for practical experience in a museum in areas such as collections management, education, development, or exhibition design. For museum/gallery studies majors only. Prerequisite: ART 1300.

 
 

Transfer Information
The Casper College Visual Arts department has had articulate transfer agreements with:

The University of Wyoming (general transfer to junior status)
Black Hills State University (general transfer to junior status)
The University of North Dakota (general transfer to junior status)
Chadron State College (currently in communication)
The Rocky Mountain College of Art in Design (currently in communication)
American Intercontinental University (currently in communication)

Students who wish to transfer credits earned at Casper College to four-year colleges and universities will generally have no difficulty doing so provided they have satisfactory grades (grades of C or better) and proper course selection. Casper College courses should be selected in accordance with the specific requirements of the schools to which a student plans to transfer.

Each college or university prescribes its own standards, but generally a student in good standing at one accredited institution can transfer to another without difficulty. Casper College is accredited by the Higher Learning Commission and is a member of the North Central Association, the highest academic accreditation available in the Rocky Mountain and Midwest regions and by other special accrediting bodies.

Students who plan to transfer are strongly urged to consult with their academic advisors or with transfer counselors in the Student Services Office, Room 112 of the Liesinger Administration Building.

Casper College Visual Arts
Visual Arts @ Casper College

SCHOLARSHIPS SPECIFIC TO ART MAJORS

  • Casper Photography Association
    Photography major, one semester.
    Contact Casper College Visual Arts Department. Michael Keogh. Photography Instructor,
    307-268-2687.

  • Donna Davis Memorial Photography Scholarship
    Contact Casper College Visual Arts Department. Michael Keogh. Photography Instructor,
    307-268-2687.

  • Houston & Martha Williams Art Scholarship
    Available to full-time. degree-seeking students majoring in a visual arts area with a focus on painting; award may be used for tuition, fees and art supplies.
    Apply to the academic dean of the School of Fine Arts and Humanities.

  • Neal Forsling Memorial Art Scholarship
    Freshman art major. Special application is required.
    Contact the Casper College Visual Arts Department, Chairman, Linda Ryan, 307-268-2671.

  • Norma June Brown Scholarship
    Available to a full or part-time student in the Visual Arts Department with an emphasis in ceramics and a 2.5 GPA. The visual arts faculty will determine the recipient.
    Contact the Casper College Visual Arts Department, Chairman, Linda Ryan, 307-268-2671.

  • Pat Bradley Memorial
    Art student.
    Contact the Casper College Visual Arts Department, Chairman, Linda Ryan, 307-268-2671.

  • Stephen Naegle Memorial
    Available to an art major. Special application is required.
    Contact the Casper College Visual Arts Department, 307-268-2452.

Additional general scholarship information can be found in the Casper College 2010-2011 Catalog, starting on page 37 of the Financial Aid section.

NASAD (National Association of Schools of Art and Design)

NASAD is an association of approximately 294 schools of art and design, primarily at the collegiate level, but also including postsecondary non-degree-granting schools for the visual arts disciplines.

It is the national accrediting agency for art and design and art and design-related disciplines.

The Casper College Visual Arts program is proud to be an accredited member of NASAD, and the only accredited visual art program in the state to have achieved this standard of excellence.

For more information concerning NASAD accreditation, please visit their website at nasad.arts-accredit.org.

Casper College Visual Arts

Casper College Art Department Students work within state-of-the-art facilities to produce stunning and compelling works.

 

Goodstein Gallery      Mildred Zahradnicek Gallery

Cyrus Baldridge:
An American Artist in China
August 25th- September 25th, 2014

Cyrus Baldridge:  An American Artist in China presents a selection of works from the Art Museum’s permanent collection that were completed during the artist’s journeys in Asia where he captured the people and the landscape. 

While traveling through Asia in the 1920s, his exposure to the sparse lines of traditional Asian art dramatically affected his style.  He learned traditional techniques from Japanese and Chinese masters and produced numerous etchings, drypoint, and woodblock prints.  This transition away from traditional illustration brought Baldridge acclaim and recognition as an artist.  This success led to several important commissions and by the early 1940s, he had illustrated more than one hundred books and magazine articles, and had a successful career in the American Southwest as a painter.

Works from this pivotal point in Baldridge’s career are included in this exhibition and through these artworks, the transition from illustrator to his use of free, sparse lines is evident and gives the rare opportunity to see the work of an artist in transition.

The exhibition of artwork is part of the University of Wyoming Art Museum’s Regional Touring Exhibition Service. 


Cyrus Baldridge Tai-Shan

 

  

Handmade/Homemade
August 25th- October 23rd, 2014

Open Book

Kate van Houten is an American artist living in Paris. After studying sculpture in Italy she came through Paris intending to return to New York. She sought out S.W. Hayter, painter and printmaker at the Atelier 17. Here was a serious workplace and a new approach where she was introduced to printmaking.  The first One-of-a-kind books documented her paintings in small cloth reproductions under a canvas cover. Working with the multiple, as she had done for many years as a printmaker, expanded to producing editions of books. This is an ideal space for collaborations between artists, writers/poets, translators and artisans. ESTEPA EDITIONS, her independent press was created in 1996.

Lee Gough is a poet and multi-disciplinary visual artist working in printmaking, drawing, animation and most recently, letterpress.  She is the author ofMary and Shelley’s Fair Copy Bookand Future Occupations.  Her prints and drawings are in many individual and public collections, including at the University of Hawaii, Hilo andKoninklijke Musea voor Schone Kunsten van België. Other visual work has also been shown in Peru, India and Australia as well as many places in the United States. In 2004, she was a Puffin Foundation grantee for her linocut portfolio series,The War Went Well.

Caren Hegna’s attitudes and approach to living and creating has been influenced by growHegna ing up as a Wyoming native. She is an explorer, a dabbler and has come to see herself as a jack-of-all-trades in the realms of art, work and thought. Drawn to the obscure, she finds herself collecting odd and disparate elements, skills and ideas that tend to sift themselves into whatever she does through a sort of accidental alchemy.  For the last twelve years Hegna has occupied herself as an artist and an independent contractor in construction, woodworking and landscape design. She lives along the Oregon Trail near Casper, Wyoming with her husband, Jim Doherty and dog, Clyde. Her work has been exhibited in galleries across Wyoming, the Nicolaysen Art Museum in Casper, the Dahl Arts Center in Rapid City, South Dakota, and can be seen in private collections.

Deborah Poe is the author of the poetry collections: the last will be stone, too (2013), Elements (2010), andOur Parenthetical Ontology (2008). Her visualwork—including video and handmade book objects—has appeared with Al-Mutanabbi Street Starts Here (New York City) and ONN/OF “a light festival” (Seattle). Deborah Poe is an assistant professor of English at Pace University and founder and curator of the annual Handmade/Homemade Exhibit.

Linda Ryan has studied art at the Internationale Sommerakademie für bildende Kunst in Salzburg, Austria, and participated in the Institute for Public Art and Design at the Minneapolis College of Art and Design.  Ryan has been active in arts advocacy, co-chairing the Arts 500 Advocacy group in Wyoming for 3 years and serving two terms on the Board of Trustees for the Nicolaysen Art Museum. She recently received the Tom West Award from the Nicolaysen Art Museum.

Robbin Ami Silverberg is founding director of Dobbin Mill, a hand-papermaking studio, and Dobbin Books, a collaborative artist book studio. Her artwork is divided between artist books and installations.The work conceptually focuses on word cognition and interlinearity, with an emphasis on process and paper as activated substrate.  Silverberg has exhibited and taught extensively in the US, Canada, South Africa, South Korea, Mexico, and Europe. She is an Associate Professor at Pratt Institute.

Janice Lee is the author of KEROTAKIS (Dog Horn Press, 2010), Daughter (Jaded Ibis, 2011), andDamnation (Penny-Ante Editions, 2013), a book-length meditation on the films of Béla Tarr, as well as several chapbooks: Red Trees, Fried Chicken Dinner, The Other Worlds, and The Transparent As Witness (a collaboration with Will Alexander). She currently lives in Los Angeles where she is Co-Editor of [out of nothing], Reviews Editor at HTMLGIANT, Editor of the new #RECURRENT Novel Series for Jaded Ibis Press, and Founder/CEO of POTG Design. She currently teaches at CalArts and can be found online at http://janicel.com.

Megan Burns is the publisher at Trembling Pillow Press (tremblingpillowpress.com) and edits the poetry magazine, Solid Quarter (solidquarter.blogspot.com). She has been most recently published in Jacket Magazine, Callaloo, New Laurel Review, Trickhouse, and the Big Bridge New Orleans Anthology. Her poetry and prose reviews have been published in Tarpaulin Sky, Gently Read Lit, Big Bridge, and Rain Taxi. She has two books Memorial + Sight Lines (2008) and Sound and Basin (2013) published by Lavender Ink. She has two recent chapbooks: irrational knowledge (Fell Swoop press, 2012) and a city/ bottle boned  (Dancing Girl Press, 2012). Her chapbook Dollbaby was just released from Horseless Press.

Jody Gladding lives in Vermont, translates French, and teaches in the MFA program at Vermont College of Fine Arts.  Her newest book of poems, Translations from Bark Beetle, is forthcoming from Milkweed Editions.  She has been a MacDowell Colony Fellow, a Stegner Fellow, a Yale Younger Poet, and the recipient of a Whiting Writers’ Award and the French-American Foundation Translation Prize.  Her work also includes site-specific installations that explore the interface of language and the environment. Photo credit:  Emma Norman.



 


    
For more information about the current exhibits call 307-268-2060.
The Goodstein Gallery and the Zahradnicek Gallery are open Monday through Thursday from 9 a.m. to 4 p.m. The gallery shows are free and open to the public.
Click to view full-sized image
Click to view full-sized image.
"Nevermore"
August 26th through September 26th, 2013

"Nevermore" by Jeanne Stern was an exhibit that contained a selection of new works, dioramas, and film. The world of "Nevermore" is a visceral, sensual space where everyday acts such as bathing and drinking are frozen in time, as if trapped in amber. Beneath its playful surface there is a sense of longing for a place that never existed. "The works venter around a toad and his watery domestic life. This series of dioramas depict the collision of domestic space and nature, using a toad's home as the starting point," said Stern.

Click for full-sized image

 

 

"Place and Time: Reenactment Pageant Photographs"
January 21st through February 13th

In her ongoing series, “Place and Time: Reenactment Pageant Photographs” (1999–present), Edie Winograde photographed staged community reenactments of incidents in American history presented in their original locales. "My interest in these events—aside from the obvious visual appeal of the extravagant theatrics—is to underscore their cathartic quality of mimesis and déjà vu. Though my photographs represent a constructed reality these pageants would take place regardless of my decision to photograph them. In doing so, I am collaborating with chance, portraying events suspended between history and imagination," said Winograde.

The re-enactments Winograde has photographed are mainly associated with the historical events of Westward Expansion. This particular American history has a strong cultural presence in every medium from painting to literature to B-movies. History is the collective memory of past experience, and her photographs depict people drawing upon this collective memory, putting themselves into the grand landscapes we associate with these stories, and perhaps by extension into history.

By representing both the present-day reenactments and the historical events themselves, “Place and Time” blurs the boundaries between then and now. This intersection of past and present connects our modern experience with a collective memory of legendary events and raises underlying questions of truth and fiction.



Peace Treaty

"Big Brush-Little Brush Exaggerated Nuances: Botanical Paintings of the Indian Paintbrush"
November 11th through December 11th

Nancy Madura holds a B.F.A. from Columbus College of Art & Design in Illustration and Advertising, and a M.A. from Ohio State University in bookmaking. She worked fourteen years as a commercial artist. She has exhibited work in several juried shows nationwide including the “Arts for the Parks” for which her art work was hung inthe Smithsonian. She was also commissioned by Carrilon Imports to produce a painting for Absolut Vodka which was printed internationally in TIME magazine and USA Today.

Paintbrush

 

“Woodfired Ceramics Exhibit ”
March 7th through May 7th

Dan James Brown
The work that he makes operates under a two part focus. First the work is made to be useful. The forms follow along the guidelines of utility and are meant to be used or appreciated as potentially useful. Second, the surface of the work has its roots in the landscape, the natural world, and storytelling. "The idea of using the surface of a pot as a space for a narrative is not a new one- in fact many pots through history still show the influence of myth, religion, and strong tradition of storytelling in their surface through carving and decoration." The imagery on the pots and the way the pots are fired all combine to produce a depth to the surface of the work. The images are combined as a visual history of our relationship to the natural world and how heavily that relationship depends on storytelling.


Dan Brown Vase

Dandee Pattee
Dandee Patee makes functional pottery with swelling and risingcurves that are softened by layersof glaze on the exterior surface of the vessel.  She is compelled to make objects in clay because of the malleability and responsiveness of the material.  Pattee chose to work within the parameters of function because she enjoys the narrative that she creates between my work and those that interact with the pieces.Pattee Pitcher

  "While making my forms, the material rises and expands under my touch; recalling the memory traces I have of the vast,uninhabited Wyoming landscape I experienced growing up.  The landscape is represented in my memory as undulating color fields softened by native plants or blankets of snow.  I attempt to replicate the boldness of the land through the forms I make and the colorpalette I have developed."  Despite the countless hours Patee has spent refining her process there remains an unbridled element of surprise and sometimes disappointment to the experience that piques her interest and provides endless problem solving.

    

Ryan Olsen
"Through my interpretation of the natural I am investigating how we experience what we are attracted to. This experience is multifaceted, involving an awareness of nature, various cultures, and histories, as well as their connections with ceramic vessels. I do this with the understanding that visual and physical attraction is different than our experience of beauty."

The idea of beauty is a human understanding of attraction. For example, an insect is attracted to flower through form and color, not the insects understanding of beauty. I see my vessels operating in similar ways when their formal attributes are experienced through their physical qualities. Through form and color their relationships become clearer; saucers contain and hide the feet of cups, lips of cups undulate to conform to vases. Their understood utility becomes hidden when the collection of forms are viewed as a whole, not unlike a garden of flowers. These larger forms can then be separated into single vessels--not unlike picking a single flower from a garden. This facilitates an understanding of the individual utility of each object inside a larger whole.

Ryan Olsen Ceramic

Artists’ lectures and reception will be held on Thursday, April 24th at noon in the Goodstein Visual Arts Center, Room 102.

The artist workshops will be held on the weekend of April 26th & 27th.

“Inventories: Paintings and Watercolors”
March 7th through May 7th

Ricki Klages' paintings reflect theinfluence of the places he has seen, visited, or lived in. "Although I have lived predominantly in the American West, the thirst for the inspiration of new places, landscapes and other environments has been constant. I have had the good fortune to live several years in Northern Italy. In addition, I have spent summers and holidays in and arouGreen Mannd London, and the southwest of England. All of these environments are referenced either directly or more subtly within my paintings".

Using a mix of straightforward landscape representation, dream imagery, intensive observation and subtly startling images, Klages' paintings incorporate elements ofstill life, landscape and the figure that connect through a narrative and suggest something out of the ordinary, even when depicting exceptionally ordinary things. "I am a restless traveler and I am always missing the places I have left behind, yet always yearning for another place to go; a new adventure.  I paint from a desire for beauty and ‘otherness’; of transcendent movements that still occur in dreams, memory and magic moments in nature. I want to capture the sense of routine and ritual, the sublime with the mundane and how they can mix in equal parts".

Laramie Shrine

The reception for Ricki Klage will be held on Saturday, April 26th at  6:30 p.m. in the Zahradnicek Galley.


 

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