With its dual emphasis on both quality academic work and the arts, the New College Art Area of Concentration (AOC) provides a unique environment where students are encouraged to incorporate diverse perspectives from a variety of disciplines into their studio practices. Our Art AOC gives students the preparation needed to pursue a career within the arts as a professional artist, designer, educator, or arts administrator. Our students have gone on to study at nationally and internationally recognized top tier graduate programs in the arts.
The Art AOC at New College engages students in the making, history, and theoretical contexts surrounding the production of art. A sequence of studio and art history courses provides the foundation for students to develop an informed understanding of art making. Course requirements begin with a core curriculum in drawing, painting, sculpture, and art history aimed at cultivating perceptual and conceptual thinking. Intermediate level courses are designed to further critical thinking and technical proficiency, preparing students for advanced study and independent projects. In consultation with the studio art faculty, students develop individually tailored academic undertakings including January Interterm Independent Study Projects (ISPs), tutorials, and a senior thesis capstone project. Students may declare Art as their area of concentration (AOC) or couple it with another discipline as a joint-disciplinary or double major.
Art Studio Policy: The New College Caples Fine Arts Studio Complex was designed to maximize the learning and creative potential of its students. The policy on access and use of all art studio premises and facilities is meant to ensure the safety and comfort of all users. Given the range of health, safety and environmental hazards, studios are not open-access, recreational spaces. Affiliated faculty and staff undergo specialized training for the handling of environmental hazards, and safe handling of equipment and materials, and they are required to properly convey this knowledge to students enrolled in relevant educational activities. Read the complete Art Studio Policy.
The Art curriculum at New College is both academically and artistically demanding, but as our graduates attest the rewards are worth it. Many of our graduates go on to earn scholarships at leading graduate schools and to get jobs at some of the nation’s top art institutions, galleries and other venues.
Students pursuing an Art AOC at New College work with faculty members to devise an individualized course of study that includes introductory and intermediate classes in drawing, sculpture and painting; art history and other areas of student interest; and other special topics. Once this foundation is established, students must apply for acceptance into the final two years of the program by submitting a digital portfolio of ten quality images, a completed Art AOC application form and a statement of interest. Two upper-level studio classes, an upper-level art history course, a minimum of two ISPs in art, and a senior thesis exhibition as well as a digital portfolio of 20 quality images are required for graduation.
Here’s a list of recent course offerings in Art:
Automata Contemporary Mechanical Sculpture
This course covers Automata Contemporary Mechanical Sculpture, the creation of mechanical sculptures using wood and other readily available materials as it pertains to contemporary sculpture. Students will explore sculptural form, conceptual idea and motion while creating mechanical sculptures. Topics to be discussed and explored are; the usefulness and place of mechanical sculptures in the 21st century, the history of Automata and Mechanical Theatre from toys to burlesque to sculpture and Automata’s evolution in kinetic/robotic art. Attendance of the mini-class is mandatory. Class size limited to 15. Lab fee required. In addition to a lab fee students are expected to purchase materials.
Drawing I is a studio foundations course intended to familiarize students with a survey of drawing media, techniques, concepts, and artists. Through design, observational drawing, collage based approaches, and research driven assignments students will develop technical proficiency while formulating a personalized drawing vocabulary. Readings, independent research, and critiques complement in-class studio assignments. Class size limited to 15. Lab fee required. In addition to a lab fee students are expected to purchase materials.
Drawing II examines advanced problems and approaches to composition, light logic, aerial perspective, idea generation, and the development of an individual drawing vocabulary. Course content intends to expand students’ existing drawing skills with topics including large-scale observational drawing, the figure, and sustained self-directed projects. Individual and group critiques, research, and slide presentations reflect on historical and contemporary context and further cultivate skills fundamental to the making, viewing and analysis of drawings. Prerequisite: Drawing I, or consent from instructor. In addition to a lab fee students are expected to purchase materials.
Class size limited to 15. Lab fee required.
This course explores digital technology as contemporary art instruments while encouraging experimentation and pursuit of an individual aesthetic. Students will have the opportunity to incorporate digital imagery with a variety of fields of study (Painting, Drawing or Sculpture). This course is for students who already possess some skills in time-based and digital media who want to explore and experiment with the techniques and processes in non-traditional ways. Lab fee required.
This course examines technical and thematic aspects of the figure in drawing and painting. Students will work from direct observation, master studies, photographs, and contemporary approaches. Assignments encourage students to refine technical skills, take risks, experiment with new ideas, and develop an individually defined studio practice. A series of thematic assignments allow students to cultivate an increasingly personalized visual vocabulary while developing an understanding of historical and contemporary precedents. Individual and group critiques, assigned readings, and slide presentations provide students the opportunity to develop a vocabulary fundamental to the making, viewing and analysis of the figure in drawing and painting. Priority will be given to those who attend the mini class. Prerequisite: Drawing I and Painting I, or consent from instructor. Class size limited to 18. Lab fee required.
Introduction to Intaglio Printmaking
Studio introduction to intaglio methods including various techniques of drypoint, aquatint, hard and soft grounds, collagraph, and color printing. The course will focus on the introduction and exploration of these techniques through 4 projects that explore personal responses to assigned themes and concepts. An emphasis will be placed on the use of formal elements such as line, tone, and texture as well as the technical skills necessary to proof and print editioned works. Historical and contemporary roles of printmaking will be covered in addition to demonstrations on paper and curating prints. Class size limited to 15. Lab fee required.
Kinetic Sculpture will explore automata, mechanical and kinetic sculptural forms. Focus will start on the using wood in the exploration and creation of gears, pulleys and levers progressing to micro-controllers (Arduino), motors, actuators and sensors to create sculpture that react to the environment. Lab fee required.
An in-depth exploration of concepts and issues relating to the production of steel and metal fabricated sculptural forms. The class explores the expressive and conceptual properties of metal by examining structural properties and fabrication techniques. Processes will include welding, brazing, as well as mixed media fabrication. Prerequisites: Sculpture I. Class size limited to 14. Lab fee required.
Mold Making and Casting in Contemporary Sculpture
This course covers the fundamentals of mold making and casting as it pertains to contemporary sculpture. Through modeling and appropriation of form students will explore the methods of mold making using plaster and other viable materials as they cast their sculptures in a variety of materials. We will discuss topics such as appropriation in contemporary art, the role material plays in contemporary sculpture, mold making- the history of the method and its contemporary usefulness in creating sculpture that is relevant and viable in the 21st Century. Prerequisite Beginning Sculpture. Attendance of the mini-class is mandatory. Class size limited to 15. Lab fee required. In addition to a lab fee students are expected to purchase materials.
Painting I is a foundations studio course intended to familiarize students with a variety of painting concepts and processes. Through guided investigations students will gain an understanding of painting materials, color theory, descriptive painting, nonrepresentational painting, and theoretical concerns relevant to painting today. Through a series of thematic assignments students will learn to develop an increasingly personalized painting vocabulary with historical and contextual relevance. Outside homework, reading, and research will be required. College level drawing or consent from instructor is required for this course. Class size limited to 15. Students are expected to purchase their own materials.
This course expands on technical and thematic aspects addressed in Painting I. Assignments encourage students to refine technical skills, take risks, experiment with new ideas, and develop an individually defined studio practice. A series of thematic assignments allow students to cultivate an increasingly personalized painting vocabulary while developing an understanding of historical and contemporary precedence. Individual and group critiques, assigned readings, and slide presentations provide students the opportunity to develop a vocabulary fundamental to the making, viewing and analysis of painting. Class size limited to 15. Lab Fee required.
Photographic Printmaking, Social Constructs, and the Normalized Gaze
The proposed description was “Traditional printmaking processes and photographic techniques combine in this survey of photo-based intaglio, silkscreen, digital, and relief printing. Using computer-generated, photographic, and hand made positives and negatives, students will prepare and expose light-sensitive polymer plates and screensto create distinctive hand-printed imagery. Students will also develop and print digital imagery using archival materials and pigmented printers. Throughout the course, students will study the history and contemporary applications of the medium. Theoretical based readings will be assigned from which conceptual elements will be developed. A focus will be placed on the role that photo and digital mediums play in the development and support of social constructs and normalized behavior. Prerequisite: Drawing I, photographic or printmaking experience beneficial. Folio development and construction is also taught.” Lab fee required.
Printmaking studio is an intermediate level studio class. Students are expected to have had experience in other image making and mark making techniques in order to be able to explore fully within the specificity of the printmaking techniques that will be taught during this class. This course will investigate Relief Printing and Intaglio and the manner that these processes serve each of the student’s thought process and image making. Students will learn how to incorporate printmaking within their artistic vision so it becomes a personal tool for their thought process. Contemporary and historical themed lectures and prints will be presented and there will be reading and writing expected for the class as well as a significant investment of time outside of the class working on their images. Prerequisite: Drawing I. Class size limited to 15. Lab fee required. In addition to a lab fee students are expected to purchase materials.
This course explores the screen printing process (also known as silk screen or serigraphy) through the creation of hand-printed editions, as well as more experimental works. Students will master a variety of techniques to create stencils, using both hand-drawn and digitally generated compositions, and will also learn about the history of screen printing and its place in the contemporary art world. Each project will conclude with a critique and a short written statement, allowing students to share their personal motivations and inspirations, while facilitating a larger dialogue about the work.
Class size limited to 15 Lab fee required.
An introduction to three-dimensional art exploring additive, subtractive, fabricating and casting approaches to sculpture. During the course of the term you will be introduced to a variety of materials, methods, and ideas. Assignments and discussions will progress from more formal, compositional based works – to the exploration of context, the frame or reference we use to look at and understand art and content, the language or emotional/intellectual meaning or message of art, to the development and understanding of contemporary thought as it relates to sculptural ideas. We will also discuss sculpture of the 20th and 21st Centuries as well as the role of the artist in contemporary society.
Class size limited to 15. Lab fee required. In addition to a lab fee students are expected to purchase materials.
An in-depth course in exploring three-dimensional art with assignments’ and discussions’ emphasizing creative expression, critical analysis and discourse. Students will further develop skills in composition, idea generation, conceptual expression, and technical skills while exploring various process and materials.
We will also read and discuss sculpture of the 20th and 21st Centuries as well as the role of the artist in contemporary society. The class structure will include studio/work days, discussions on presentations or articles on critical discourse, demonstrations and critics. Class size limited to 15. Lab fee required.
Time and Movement: Stop Motion Animation
This course examines the practice, theory and evolution of stop motion animation through a series of studio projects aimed at broadening traditional image making strategies. In this effort students will develop skills in idea generation, visual problem solving, and develop a familiarity with digital editing software. A survey of relevant works by artists William Kentridge, Barnstormers, Ellen Gallaghar, Robin Rhode, Nathalie Djurberg, Clare Rojas, and the Disney/Dali collaboration Destino, will augment studio activities. Texts by Gilles Deleuze, Laura Mulvey, and Lev Manovich, help to further situate painting and drawing within a cinematic field. Students will be expected to purchase their own materials in addition to a lab fee. Prerequisite: Drawing I and Sculpture I.
The Use of the Figure in Contemporary Sculpture
The Use of the Figure in Contemporary Sculpture is an in-depth studio course exploring the human form in sculpture in the 21st Century. Students will investigate uses of the body as subject, object and medium creating a number of sculptures focusing on formal aspects of three-dimensional art, conceptual idea, and its place in contemporary art using a variety of materials and techniques. We will discuss the evolution of the human form in art throughout the centuries up to the present day. Prerequisite: Beginning Sculpture and Drawing I. Attendance of the mini-class is mandatory. In addition to a lab fee students are expected to purchase materials.
Wood Sculpture and Woodworking Techniques
Wood Sculpture and Woodworking Techniques is in depth studio course exploring contemporary wood sculpture and traditional and modern woodworking techniques. Students will create a number of sculptures uses wood as well as mixed media fabrication exploring a variety of approaches to the materials. We will discuss topics such as appropriation in contemporary art, the role material plays in contemporary sculpture, mold making- the history of the method and its contemporary usefulness in creating sculpture that is relevant and viable in the 21st Century. Prerequisite: Beginning Sculpture. Attendance of the mini-class is mandatory. In addition to a lab fee students are expected to purchase materials.
Paloma Ferreyros ’08, is completing her master’s degree in art and art education at Teachers College of Columbia University in New York City. As a visual arts educator, she has worked with a variety age groups and organizations – including schools, museums, clinics and public art programs. Currently, she is student teaching AP Art History and Advanced Digital Photography at the specialized art high school Fiorello H. LaGuardia Arts. Paloma credits her experience at New College with guiding her to think critically about the choices involved in her art making practice. As a New College student, she was awarded several student research grants for her independent study projects and her thesis work. The funding, provided by the New College Alumnae/i Association and The Council of Academic Affairs, enabled her to take summer courses at The School of The Art Institute of Chicago and to participate in large-scale mural projects in Sarasota. Two of her murals are currently on display at the New College Child Center.
Filmmaker Nirvan Mullick directed “Caine’s Arcade,” a short film about a boy, his imagination and a social movement to bring him customers. After going viral, “Caine’s Arcade” has been featured on numerous national media outlets and has inspired scholarships in Caine’s name and the imaginations of children worldwide. Mullick also studied Philosophy and Fine Arts while at New College.
New College is proud of the many Art and non-Art graduates who have contributed to the field. Here’s a sampling of some of our graduates:
Sample of Graduate Schools Attended by NCF Students
Each academic experience builds toward your senior thesis project. It’s required for graduation, and our students tell us that while it’s demanding, it’s also one of the most rewarding experiences of their lives. Here are some thesis projects in Art:
“Dwelling: an Exploration of Home and Memory” by Eugenie Fortier
“Watching You without Me” by Sherry Haber
“Playing God: Paintings of companies that pollute water and the repercussions of their actions” by Alexandra Miranda
“In Grain: Liberation from Self Through Iterations in Wood” by Suzanne Olvey
“GROUP AGGRESSION: Reflexive Masculinity in the Male Painter” by Ben Sims
“Candy Land” by Brittney Champagne
“Alterity Atelier” by Nathan C. Duvall
“Transfiguration” by Carmen Guillen-Casal
“Fragmented Perspective” by Megan MacGregor
“Perspective” by Heather Mullins
“Seeing Through the Grid” by Sarah Newberry
“Geometric Geography: Harmonizing with the Florida Keys” by Lauren Parker
“A “Queery” of Sex and Gender” by Elizabeth Lang Tracy
“Facebook Sluts: Transcoding between Voyeuristic Media and Figure Painting” by Dinah Juergens
“Fero Corpum Ferri: An exploration of the role of human physiology against a backdrop of everincreasing mechanical supplantation” by David Bennett
“Associations: An Art Thesis” by Christine Dormoy
“Shutter Speed: Deconstructing a Photographic Ideal” by Claire Krueger
“Subversive Play” by Persephone Thorn-Hauswirth
“Shared Anxiety, Shared Identity: Exploring the Crisis of Subjectivity in the Art Object” by Misha Wyllie
“Re: Vanishers for Premature Burial & TMT” by Jared Dyer
“A Planet in Our Solar System” by John Dillon
“Into the Primitive” by Alejandra Ferreyros
“Strangely Familiar: Finding Place in Nonplace” by Mia Johnson
“Liminal Spaces: Video Art as a Tool for Representing Subjectivity and Poeticizing Perception” by Chloë Kendall
“Europe: A Brief Walking Tour” by Melissa Soforic
“Metropolitan Twilight” by Rachel Warzeski
“Transience, Fragmentation and Fruit: Modernizing VANITAS Still Life Paintings” by Angela Faustina Kramer
“Losing My Marbles: A Mausoleum of Memory” by Kimberly Vorperian
“Mapping Identity: Relationships Between In/Out Space” by Jessica Borusky
“Desiring Intersubjective Unity” by Kristin Eschenroeder
“Perception Interpreted through Abstraction” by Paloma Ferreyros
“Buying the Image: A Visual Analysis of Advertising” by Kathleen Gemmer
“Combining Abstraction and Illusionism: Dynamic Tension and Systems of Randomness” by Kalen Jennings
“Femininity and the Body: An Installation Concerning Social Alienation” by Melanie Kielich
“Delineating and Expanding Upon the History of Combining Performanace Art with Sculpture, and an Analysis of My Own Work in Terms of Performance, Sculpture, Interactivity, and Politics” by Alexis Kohilakis
“The Fetus in Black and White: Art, Abortion, and the Fetus” by Lina Maslo
“The Missing Peace: Finding the Beauty within Chaos” by Dylan Terry
“OoooOO0ooOOOoooo0O0ze” by Eugenia Semjonova
“Art About Art: A Conversation on Convention” by Cody Coltharp
“Windows to an Imaginary Realm” by Maria Falkov
“A Little Perspective: A Personal Exploration of the Significance of Perception with Particular Focus on the Understanding of Time” by Caroline Naomi Foss
“Still Life: A meditation on Impermanence in installation Art and Otherwise.” by Mary Hill
“Evolution through Networks” by Leonardo Infante
“The Administrative State” by Calder Yates
“Jewish Art and the Second Commandment” by Andrew Heber
“Domesticated: An installation Art Project” by Rebecca Borlan
“Tangles Views” by Richard Duffy
“Dixie” by Lauren Grant
“A Discussion of Artistic Process and Product in Relation to the Short Film Tiga Negri Tambal” by Chris (Plastron) Gray
“People, Places and Spaces-8 Countries, 4 Months, 1 Artist.” by Marina Williams
“Mnemonic Memorials” by Heather Butler
“Art as Intervention in Public Space” by Graham Coreil-Allen
“Written Component” by Jared Hartman
“Mechanical Life in a Gallery Setting” by Sara Kemme
“The Landscape and Identity” by Julian Corvin
“New Material(s)” by Kelly Goff
“Art and Nature: Explorations in Individual Perspective” by Elizabeth Adorian Kovacs
“Horses in Shametown: Collecting Denver’s Dark-Hick Roots” by Lindsay Moore
“Reeling Imaginary” by Lori Zurkuhlen
“An Illustrated Key to the Nitidulid Sap Beetles in South West Florida Strawberries” by Allison Long
“Girls and Goddesses: Artistic Explorations of Memory, Myth and Dream” by Jennifer Bossert
“Spoiled Products for Gross Girls” by Regina Gelfo
“Flowers, Foxes and Fish, Oh My: A Study of the Natural Form” by Melissa Cain
“Self: The Operational Definition Sources of Imagery” by Jenny Conn
“Balanced Metaphor” by Miriam Crummer
“Transparent Skin” by Sarah Goff
“Magic Lanterns: Light Painting By Number” by Shannon M. Zelitch
The New College campus is divided into three distinct areas, one of which is focused on the arts. On Bay Shore Road just south of the world-renowned John & Mable Ringling Museum of Art, the Caples Campus occupies land once owned by railroad pioneer Ralph Caples. Bequeathed to New College in 1962, it is now home to the modern Caples Fine Arts Complex, a quadrangle of five buildings arranged around a picturesque courtyard. Here, you can find the:
Facilities for art making include:
Each year in May, students can present their original research at New Scholars New College. There is also an annual Senior Thesis Art Exhibit featuring a selection of artwork from the art students’ final year of studies, held either on campus or at a public gallery space in downtown Sarasota. Both New Scholars and the exhibit are wonderful opportunities to share your work with the general public.