The is a four-year professional college
of art and design offering the Bachelor of Fine Arts Degree in
graphic design, painting, printmaking and sculpture.
Swain School of Design Catalogue
Table of Contents
4 General Information
4 Introduction
6 Location and Facilities
8
The Curriculum
8
Foundation Program
10
Major Program
12
Graphic Design Major
16
Painting Major
20
Printmaking Major
24
Sculpture Major
28
Liberal Arts
30
Policies and Procedures
30
Admission
33
Fees and Financial Aid
34
Student Services and Student Life
36
Academic Policies and Procedures
39
Academic Calendar
40
Course Descriptions
40
Foundation: Freshman Year
40
Foundation: Sophomore Year
41
Major Studios
42
Studio Electives
42
Liberal Arts Electives
46
Faculty, Administration and Trustees
48
Maps
The Swain School of Design reserves the right to
change, at any time and without prior notice, its
course offerings, fees, calendar, rules, regulations
or procedures stated in this catalogue or
elsewhere.
Non-Discrimination Policies In accordance with
the Civil Rights Act of 1964 and Title IX of the
Educational Amendments of 1972, the Swain
School of Design admits students of any race,
color, age, sex or national and ethnic origin to all
the rights, privileges, programs and activities
generally accorded or made available to students
at the School. It does not discriminate on the basis
of race, handicap, age, sex, color or national and
ethnic origin in the administration of its employ-
ment policies, educational policies, admissions
policies, scholarship and loan programs, or other
school-administered programs. Inquiries regard-
ing compliance with the Civil Rights Act of 1964
and Title IX may be directed to the Dean of the
Swain School of Design, or the Director of the
Office of Civil Rights, Department of Education,
Washington, D. C.
Credits
Edited by: Peter Newport
Design: Thomas Corey, Henry Berthiaume
Photography: Catherine McGuiness, Esther
Solondz, and Sarah Benham.
Printing and typesetting: Reynolds-DeWalt
Typing: Diane Cambra, Ginny Sexton
4 General Information
The purpose of the Swain School of Design is to educate men
and women to become professional artists and designers. The
school offers a specialized program of studies intended to
foster the student's individual growth through the close
attention of the faculty. This education aims to develop in
the student the ability to produce works of art and design
that are thoughtful contributions to the culture as a whole.
Introduction 5
Because of its small size, Swain is an
intimate college whose course of
instruction depends on an intense and
continuing relationship between students
and faculty.
Society needs visually intelligent people
to make its art and to design its artifacts
and communications. A dissonant
environment needs artists and designers
to imagine how it can be made whole and
hospitable, and to work to make it so.
Artists and designers need a broad
understanding of history and culture to
do that work well. For that reason,
students at Swain study art history,
literature and social science as well as
those specific disciplines that lead directly
to their professional goals.
We expect our graduates to be prepared
to enter the professional fields for which
they have studied, either through
undertaking further studies at the
graduate level, or by entering their
individual fields directly.
Graduate Profile During 1981 we made
a survey of what our most recent
graduating class was doing, and were able
to make the following profile for the class
of 1980. Out of a class of thirty-two,
eight were attending graduate schools at
institutions including Cranbrook
Academy of Art, Queens College of the
City University of New York, Pratt
Institute, Parsons School of Design, and
the Rhode Island School of Design.
Eleven of the graduates were working in
their professional fields, two were
teaching, and one was traveling in South
America. Three were working at home,
one found employment in an area not
directly related to the arts. The remaining
six could not be reached for comment.
History The Swain School of Design was
established in 1881 as a free school,
bearing the name and good wishes of the
New Bedford philanthropist, William
Swain. When the textile industry came to
dominate the city, the Swain School
began to concentrate on instruction in
design. Gradually, the school developed
programs in painting, sculpture,
printmaking and graphic design. Within
the last fifteen years, Swain has tripled its
enrollment, added six buildings to the
campus, established a department of
liberal arts, and achieved accreditation as
a Division I member of the National
Association of Schools of Art.
Swain has become distinguished for
disciplined vitality both in its program of
basic studies and in its advanced studio
areas.
Accreditation and Affiliations Swain is
fully accredited as a Division I member of
the National Association of Schools of
Art, and is a Candidate for Accreditation
with the New England Association of
Schools and Colleges, Inc.
The college is accepted by the Veterans
Administration for the education of
veterans and authorized by the United
States Department of Justice to enroll
non-immigrant alien students.
The Swain School of Design is a fully
participating member of the Southeastern
Association for Cooperation in Higher
Education in Massachusetts (SACHEM), a
consortium of nine area colleges. Through
SACHEM, Swain students may enroll in
selected courses at other member
institutions at no extra cost.
Other groups or associations with which
the college is affiliated include:
The College Art Association
The American Federation of Art
The Council for the Advancement and
Support of Education
The Art Librarians Society of North
America
The New England Association of College
Admissions Counselors
The New England Association of College
Registrars and Admissions Officers
National Association for Student
Financial Assistance
"My hope is that the
provision made herein will be
sufficient for establishing
and supporting a school of
high character, where the
pupils may receive a thorough
education based upon the
most liberal and enlightened
principles. "
From the will of William
W. Swain, September 21,
1858
6 General Information
The William Crapo Galley
was built in 1 925 to provide
a space for regular exhibitions
as an enrichment to the Swain
community.
Location and Facilities The Swain
School of Design is set in the city of New
Bedford, Massachusetts, in one of the
city's historic residential districts and
within walking distance of both the
downtown area and the waterfront. The
five-acre campus includes nine buildings
which house ample, well-equipped
studios, including individual studio
spaces for juniors and seniors. As a
professional college of art and design,
Swain is almost unique for its location in
a small city with ready access to major
metropolitan centers.
The Rodman building is one of the city's
many notable nineteenth-century
mansions. It houses the President's office,
the Graphic Design Department, the
cafeteria and other classroom space.
Designed by William Russell, it is
considered one of the best examples of
Greek Revival architecture still existing
in New Bedford.
The Crapo building contains four large
studios with north light where students
can work in close proximity to the Crapo
Gallery, built in 1926 as an exhibition
space for the school.
In addition to group shows or exhibitions
of faculty or student work, the gallery has
shown the work of such artists as:
Joseph Albers Richard Hunt
James J. Audubon Lester Johnson
Harry Callahan
Freidel Dzubas
Frederick Frieseke
David Hockney
Jim Hodgson
Tomoko Miho
Robert Rauschenberg
Robert Reed
Maraja Villila
Massimo Vignelli
The Whaling Museum, not
far from the Swain campus,
represents apart of the rich
cultural heritage of New
Bedford.
Location and Facilities 7
The library is housed in a stone carriage
house and offers an extensive and
diversified collection of about 16,000
books on the visual arts and other fields.
The resources of the library also include
26,000 slides of works of art and design.
Sections of the collection support the
literature and humanities programs of the
college. Through the SACHEM
consortium, students at Swain have full
privileges at the libraries of Southeastern
Massachusetts University and other
consortium members.
Also included on the main campus at
County and Hawthorn streets are the
Rodman Annex; the Currier Building,
which contains additional studio space;
and the Melville Building, which was the
home of Herman Melville's sister. A fine
example of Italianate period architecture,
the Melville Building currently provides
studio space for junior and senior
painters.
A few blocks away is Swain's newest
acquisition, the Elm Street building. A
large open space of 12,000 square feet,
the Elm Street facility houses studio and
shop space for both the sculpture and
printmaking departments. The
printmaking facility includes studios for
individual students and a pressroom
equipped for intaglio, lithography,
silkscreen and relief printing. The
sculpture facility includes studio and shop
space in which students may work in
wood, metals, clay, fabric, plaster, stone
and concrete.
The front door of the Crapo
Building leads to the Crapo
Gallery, a facility available
to the Swain community and
the public alike.
The library is a remodeled
stone carriage house and pro-
vides the best resource in the
area for the fields of art and
design.
8 The Curriculum
The Foundation Program uses a carefully devised curriculum
to acquaint students, through their own work, with the
variety and precision of visual experience.
An awareness of past art is a
valuable product of any
artist 's education.
Foundation Program: Freshman Year
The Foundation Program has been
designed to develop in each student the
skills and understandings which are basic
to further study in the visual arts. The
program seeks to develop the following
abilities:
— to analyze and solve problems in two-
and three-dimensional design.
— to understand the principal theories of
color and composition, their historical
foundations and their relationship to
human physiology and psychology.
— to translate volumes, rhythms and
structural relationships to a two-
dimensional surface, the page.
— to use reading and writing as a means
to find information, develop ideas and to
communicate one's own convictions.
— to understand that civilization is an
evolving process in which clear relation-
ships exist between the arts and man's
other accomplishments.
In order to meet its goals, the Foundation
Program is structured around six-hour
studio classes which generally meet once a
week. During the course of the day, each
student receives the individual attention
of the instructor.
Foundation Program: Sophomore Year
The sophomore year continues and
intensifies the aims of the Freshman year.
Sophomores choose two trial majors, in
order to explore the fields in which they
might wish to concentrate their studies
during their junior and senior years. In
addition, students choose among studio
elective courses which tend to emphasize
specific technical skills. Some examples
include Basic Photography, Materials and
Techniques in Contemporary Sculpture,
and Production and Processes, for graphic
design.
All sophomores take two semesters of
printmaking and generally carry one
liberal arts elective each semester.
Trial Majors In each semester of the
sophomore year students select trial
majors in at least two of the three
following areas: graphic design, painting
or sculpture. This allows the student to
obtain enough first-hand experience in
the major fields of study offered by the
college to choose a major wisely at the end
of the sophomore year.
Sophomore Review During Sophomore
Reviews, which occur at the end of the
year, students present themselves as
candidates for acceptance into one of the
major programs of the college. Before the
review, each sophomore presents to the
Dean's office, a written statement
indicating the choice of a major field and
the reasons for that choice.
The work presented at the review should
include examples done for all the studio
courses taken, but should emphasize work
done in the field of intended
concentration. The review gives the
student and the faculty an opportunity to
assess the student's overall performance in
the foundation program and to discuss the
student's individual needs and goals.
Foundation Program 9
Following a successful review, the student
is accepted, by faculty action, into one of
the major programs of study.
Freshman Courses
Freshman Drawing
Drawing 121 , 122
Introduction to Three-dimensional
Design
Sculpture 151, 152
Introduction to Two-dimensional
Design
Design 111, 112
Freshman English
Humanities 100, 105
Readings in Western Civilization
Humanities 110
Introduction to Art History
Visual Studies 100
Total freshman program
Sophomore Courses
Introduction to Printmaking
Printmaking 24 1 , 242
Trial Major
Trial Major
Studio Elective
Liberal Arts Elective
Total sophomore program
Individual course descriptions begin on
page 40.
15 15
1st
2nd
3
3
3
3
3
3
3
3
3
3
15
15
Ed Benguiat
Visiting Artists
The programs of the college
have been richly supplemented
through the presentations of
visiting artists, designers and
lecturers, including the
following:
Rosemary Beck, Painter
Ed Benguiat, Typeface Designer
Kenneth Baker, Critic
Carl Belz, Curator
Ivan Chermayeff, Graphic
Designer
Seymour Chwast, Illustrator
Muriel Cooper, Graphic
Designer
Stavros Cosmopulos, Art
Director
Robert DeNiro, Painter
Richard Fishman, Sculptor
Malcolm Grear, Graphic
Designer
Mary Gregory, Furniture
Designer
Arthur Hoener, Painter
Helene Herzbrun, Painter
Richard Hunt, Sculptor
Lester Johnson, Painter
Art Kane, Photographer
Dick Lyons , Graphic Designer
John McConnell, Graphic
Designer
John Matt, Sculptor
Elise Meyer, Gallery Director
Tom Ockerse, Graphic Designer
Davis Pratt, Curator
Chris Pullman, Graphic
Designer
Robert Reed, Printmaker
John Udvardy, Photographer
Dietmar Winkler, Graphic
Designer
Carl Zahn, Graphic Designer
Two lecture programs, the
GRAPHIC DESIGN FORUM
and the FINE ARTS FORUM,
were supported in 1980-81 by
grants from the NATIONAL
ENDOWMENT FOR THE
ARTS and the POLAROID
CORPORATION, respectively.
10 The Curriculum
Swain offers photography
courses that are open to all
students. Although the
college does not offer a major
program in the field, students
in the graphic design
department study
photography as an integral
part of their curriculum.
Major Program Third- and fourth-year
students concentrate in a single major
field: graphic design, painting,
printmaking or sculpture. This concen-
tration allows students to find a sense of
depth and discipline in a professional
field. We expect students in the major
programs:
— to maintain a sense of direction in their
work.
— to speak and think clearly about the
intentions of their work and the problems
involved with producing it.
— to apply the same critical standards to
their own work and to the work of others.
— to function as independent professional
artists or designers capable of organizing
both their work and their time.
In order to make the major program more
specific to individual needs, students in
the junior and senior years may choose to
satisfy three of the nine semester credits
in the major studio through work with
another instructor. The following options
are available in any semester:
— the Guided Studio. In the Guided
Studio, students may devise, with the
guidance of any instructor at the college,
a course of study which they undertake
together. This course must be approved
by each student's major advisor and by
the Dean.
— the Studio Seminar. Students may
request permission of their major advisor
to apply Studio Seminar credits to their
major studio requirements. This option
also requires the approval of the Dean.
Descriptions of studio seminars begin on
page 42.
Third- and fourth-year students continue
to take elective courses in the liberal arts
and studio areas. Complete descriptions
of elective courses begin on page 42.
Descriptions of the requirements for the
Bachelor of Fine Arts degree begin on
page 36. Individual departmental pre-
requisites for graduation are noted in the
appropriate sections below.
Junior Year In the semester following a
successful sophomore review, the student
begins work in a field of major study.
Ample studio space near appropriate shop
Major Program 11
equipment allows students to work
closely with faculty and exchange ideas
with other students.
Junior Review The Junior Review
customarily occurs in the spring of the
third year and affords the student an
opportunity to evaluate with faculty, the
student's progress in the major field. Two
weeks before the Junior Review, the
student is required to deliver a written
statement to the major instructor about
the work accomplished, formal problems
encountered and intentions within the
major area. With the approval of the
major instructor, the paper is forwarded
to the Dean's office.
Senior Year In the senior year, students
are advised to carry only 12 credits each
semester. The reduced course load of the
senior year reflects the conviction that
students have achieved a level of concen-
tration in their major fields that requires
them to have access to large amounts of
time that are not structured by the
college.
Unimpeded access to individual studio
and equipment areas becomes the means
through which the student may develop
the discipline that is invaluable in later
professional life.
Senior Review In the middle of the
senior year, the work of each student is
again reviewed by the faculty. A week
before the date of this review, seniors are
required to deliver a written statement
about their work to the Dean's office. The
Senior Review allows fourth-year students
to demonstrate to the faculty the
direction their work has taken and the
degree of mastery attained in their major
fields. The faculty must act to approve
the Senior Review before a student may
receive credit for work done in the major
studio course, or receive the degree.
Senior Exhibition In order to graduate,
each senior must submit acceptable work
for inclusion in the Senior Exhibition.
The public, formal presentation of this
body of work is regarded as the culmina-
tion of the academic program.
Junior Courses
Credits per Semester
1st 2nd
Major Studio
Three major studio credits may be satisfied
by Guided Studio or Studio Seminar as
described above.
Studio Elective
Liberal Arts Electives
Total junior program
Senior Courses
Major Studio
Three major studio credits may be satisfied
by Guided Studio or Studio Seminar as
described above.
Liberal Arts Elective
Total senior program
3
3
6
6
18
18
1st
2nd
Most studio courses run the
9
9
full day, punctuated only by
two short breaks and lunch.
Seated and drawing is
Benjamin Martinez,
3
3
Assistant Professor of
12
12
Painting.
Seated and pointing is David
Smith, Professor of
Painting.
12 The Curriculum
Graphic design is the process of identifying problems in visual
communication and solving them. While designers apply
their skills to such varied projects as the design of an
exhibition, a corporate identity program, highway signage, a
poster, or a book, the method remains the same. It is first to
research, to ascertain what is needed, and then to produce a
solution that is both aesthetically and functionally effective.
The Rodman Building
provides classroom and studio
space for the graphic design
department. Designers have
access to their own studio
spaces at all hours during the
school year.
Graphic Design Major 13
During the trial major in the sophomore
year, students are exposed to the
vocabulary that comprises the language of
graphic design: typography,
photography, illustration, color, and
composition. The junior year, the first
year of the major studio in graphic
design, builds on the work of the trial
major, but the problems become
progressively more complex. The senior
year is considered to be the first year of
the student's design career during which
the senior assembles an individual
portfolio of work through the completion
of a variety of problems presented by
instructors.
Students majoring in graphic design
participate in numerous seminars with
designers from outside the college. In
their junior or senior year, students are
placed for apprenticeships with
professional graphic design offices.
While some students graduating from the
graphic design department proceed
immediately to graduate study, most go
directly to work as professional designers.
Above is a photograph by
Cathy McGuiness from her
model for an exhibition
entitled "Crime in Cinema" .
Below is Michael Persons' s
poster completed as part of the
senior graphic design
program .
14 The Curriculum
Graphic Design Major — A Sample
Curriculum
Freshman and Sophomore Years
Students who are considering a major in
graphic design must have satisfied the
requirements of the Foundation Program
which are described beginning on page 8.
A sample curriculum for the remainder of
the degree program follows.
Junior and Senior Years Following a
successful Sophomore Review, the
student is accepted, by faculty action,
into the Graphic Design Major and
undertakes the following course of study
during the junior and senior years. A full
description of the major program can be
found beginning on page 10.
In the white jacket is Cheryl
Brzezinski, an instructor in
graphic design.
Graphic Design Major 15
Credits per
Sophomore Courses
Trial Major in Graphic Design
Design 211, 212
Introduction to Photography
Design 213
Production and Processes
Design 200
Additional sophomore requirements are
described on page 9.
Total sophomore program
Junior Courses
Major Studio in Graphic Design
Design 321, 322
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar. Descriptions of these courses
begin on page 10.
Additional junior requirements
Total junior program
Senior Courses
Major Studio in Graphic Design
Design 421 , 422
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar.
Remaining senior requirements
Total senior program
Total requirements for the Bachelor of
Fine Arts degree in Graphic Design
Semester
1st
2nd
3
3
3
3
9
9
15
15
1st
2nd
9
9
9
9
18
18
1st
2nd
9
9
3 3
12 12
120
A graphic designer spends a
great deal of time collecting
and sifting information
before any work begins on the
drawing board.
16 The Curriculum
Using the language of two-dimensional expression, painting
tries to wrest understanding from the flow of experience.
Georges Braque spoke about painting this way: "by
(painting) an apple next to an orange they cease to be an
apple or an orange and become fruit.' The painting
becomes greater than the sum of its parts.
The student majoring in painting builds
on the abstract theories introduced in
freshman two-dimensional design and the
formal and observational skills
emphasized in drawing classes as well as
the sophomore Trial Major in Painting.
In the junior year, emphasis is placed on
unifying observational skills with
Students majoring in
painting have their own
studio space in which they
can store all of their work
together, work on it for an
extended period, paint in its
midst, and have the
instructor criticize it as a
body of work.
Painting Major 17
consideration of form, color and
composition. Students work in their own
studio spaces on campus to facilitate
continuing communication about works
in progress both with the instructor and
with other students. Principal studio
spaces for painting majors are located in
the Currier and Melville buildings,
although some studio space is located in
the Crapo building to take advantage of
the generous north light which that
building provides. Both the gallery and
the library are central to the painting
department studios.
In the painting major, students work
with increased independence as they move
toward the end of the senior year and, by
the time of graduation, they are expected
to assemble a coherent body of work
which demonstrates significant commit-
ment to a number of clearly specified
problems and concerns.
Students also participate in group
critiques, attend technical demonstra-
tions as well as formal and informal
seminars concerning traditional and
contemporary art theory.
During the junior and senior
years, the instructor
encourages students to work
more and more independ-
ently, to define more clearly
the direction of their painting
and to defend its validity.
The painting is by Nancy
Carrozza.
18 The Curriculum
Painting Major — A Sample
Curriculum
Freshman and Sophomore Years All
students who are considering a major in
painting must have satisfied the require-
ments of the Foundation Program which
are described beginning on page 8. A
sample curriculum for the remainder of
the degree program follows below.
Sophomore Year Sophomores may
formulate their programs to include the
requirements for the Bachelor of Fine
Arts degree in Painting.
Junior and Senior Years Following a
successful Sophomore Review, the
student is accepted, by faculty action,
into the Painting Major and undertakes
the following course of study during the
junior and senior years. A full description
of the major program can be found
beginning on page 10.
Sophomore Courses
Trial Major in Painting
Painting 231 , 232
Life Drawing I
Drawing 22 1
Figure Modeling
Sculpture 222
Additional sophomore requirements are
described beginning on page 8.
Total sophomore program
Credits per Semester
1st 2nd
Life
15 15
Ion
Painting Major 19
Junior Courses
Major Studio in Painting
Painting 331, 332
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar. Descriptions of these courses
begin on page 1 0 .
Life Drawing II
Drawing 321
Additional junior requirements
Total junior program
Credits per
Semester
Credits per Semester
1st
2nd
Senior Courses
1st 2nd
9
9
Major Studio in Painting
Painting 43 1 , 432
9 9
ay be
Three credits of this requirement may be
') or a
satisfied by either a Guided Studio or a
ese courses
Studio Seminar.
Remaining senior requirements
3 3
3
Total senior program
12 12
6
18
9
18
Total requirements for the Bachelor of
Fine Arts degree in painting
120
To the left, is a life painting
class in a studio in the Crapo
Bu i 'ding. In the center is a
painting junior in his studio.
20 The Curriculum
To the right is a view of the
Elm Street Building which
accommodates both the
printmaking and sculpture
depart?nents.
Printmaking is a means of expression that allows
investigation into the explicit relationship of image and
craft. In addition to being an art in its own right,
printmaking has drawn the attention of painters, designers
and sculptors, since it offers the means to produce a single
visual thought in multi-original form.
In the middle of the year,
seniors have reviews in which
their work is shown to the
faculty. At the reviews,
students discuss their goals,
direction and progress . They
demonstrate to the faculty the
extent of their mastery of
their work.
Printmaking Major 2 1
The printmaking facility at the Elm
Street Building provides 4,000 square
feet for junior and senior students. The
space includes a general studio containing
equipment for lithography, intaglio, silk-
screen and relief painting; a group
critique area, and individual work spaces
for juniors and seniors.
In addition to expanding their proficiency
in basic printmaking methods, juniors in
printmaking study increasingly sophisti-
cated techniques. As the year progresses,
students should develop the ability to
justify the relationship of medium to
content.
To the left, a hand colored
etching by Carlotta Michel,
is entitled "Robert Mi t chum
hears the alarm and wakes
me up for crit" . To the left
below is an assemblage on
foam core board by Sandy
Mags amen.
22 The Curriculum
Virtually unlimited access to these
facilities allows major students to develop
an independent approach to their work
and to explore and master the techniques
needed for their expression as artists.
Careful faculty guidance helps students to
speak and think critically about their
work in the context of contemporary art
and to see its place in the continuum of
art history.
Printmaking Major — A Sample
Curriculum
Freshman and Sophomore Years All
students who are considering a major in
printmaking must have satisfied the
requirements of the Foundation Program
which are described beginning on page 8.
A sample curriculum for the remainder of
the degree program follows below.
Junior and Senior Years Following a
successful Sophomore Review, the
student is accepted, by faculty action,
into the Printmaking Major and
undertakes the following course of study
during the junior and senior years. A full
description of the major program can be
found beginning on page 10.
Printmaking Major 23
Junior Courses 1st 2nd
Major Studio in Printmaking 9 9
Printmaking 341 , 342
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar. Descriptions of these courses
begin on page 10.
Remaining distribution requirements 9 9
Total junior program 18 18
Senior Courses 1st 2nd
Major Studio in Printmaking 9 9
Printmaking 441 , 442
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar.
Remaining senior requirements 3 3
Total senior program 12 12
Total requirements for the Bachelor of
Fine Arts degree in printmaking 120
"Through his hands man
establishes contact with the
austerity of thought. They
quarry its rough mass. Upon
it they impose form.
H. Focillon
Credits
per Semester
Sophomore Courses
1st
2nd
Introduction to Printmaking
3
3
Printmaking 24 1 , 242
Additional sophomore requirements are
12
12
described beginning on page 8.
Total sophomore program
15
15
24 The Curriculum
By projecting visual concepts into three-dimensional space,
sculpture creates objects that compete for attention with all
the other objects in the three-dimensional world. It asks to
be measured against one's experience of things as they are
and poses questions of how things might be. Sculpture
doesn't mean something, it is something.
A neon sculpture by David
Home.
Sculpture Major 25
Initially students are encouraged to exper-
iment with a wide range of materials and
ideas, allowing them to find a unity be-
tween concepts and the materials which
best express their sculptural concerns.
Working closely with their instructors,
students develop progressively greater in-
sight into concepts guiding their work
and attain mastery over necessary mate-
rials and techniques.
The facilities of the sculpture studio
include over 5,000 square feet of studio
and shop space in the Elm Street
Building. High ceilings, lifting
equipment and industrial grade power
tools allow students to produce large-scale
work. A partial equipment inventory
includes an overhead crane, several
welders, a 10' metal brake, band saws for
metal and wood, a 10" table saw, a radial
arm saw, a commercial sewing machine, a
bench grinder and various other hand and
power tools.
Graduating seniors are expected to have a
broad understanding of contemporary and
earlier sculpture and to have attained a
general competence in important
sculptural techniques.
26 The Curriculum
Sculpture students and
faculty use the campus
grounds to site their larger
outdoor pieces.
Sculpture Major
A Sample Curriculum
Freshman and Sophomore Years All
students who are considering a major in
sculpture must have satisfied the
requirements of the Foundation Program
which are described beginning on page 8.
A sample curriculum for the remainder of
the degree program is shown here.
Junior and Senior Years Following a
successful Sophomore Review, the
student is accepted, by faculty action,
into the Sculpture Major and undertakes
the following course of study during the
junior and senior years. A full description
of the major program can be found
beginning on page 10.
Sculpture Major 27
Sophomore Courses
Trial Major in Sculpture
Sculpture 25 1 , 252
Materials & techniques in
Contemporary Sculpture
Sculpture 200
Additional sophomore requirements are
described beginning on page 8.
Total sophomore program
Junior Courses
Major Studio in Sculpture
Sculpture 351 , 352
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar. Descriptions of these courses
begin on page 42 .
Remaining junior requirements
Total junior program
1st
9
2nd
9
Senior Courses
Credits per Semester
1st 2nd
9
18
Major Studio in Sculpture
Sculpture 45 1 , 452
Three credits of this requirement may be
satisfied by either a Guided Studio or a
Studio Seminar.
Remaining senior requirements
Total senior program
Total requirements for the Bachelor of
Fine Arts degree in sculpture
3
12
3
12
120
28 The Curriculum
A scene from "One Swan
Street" by Nicholus Kilmer.
Liberal Arts Good visual work does what good writing does:
it makes experience more vivid. A place or an idea is
ignored, invisible, until it has been painted, or used in a
story, or mapped, or gardened or in some other way
imagined. The deepest craft of any artist is that of falling in
love with the world, of knowing that something which has
been seen is worth seeing.
Liberal Arts 29
Courses in the liberal arts take the work of
art historians, poets, travelers, novelists,
historians, sociologists, anthropologists,
psychologists, philosophers and presents
them in a form designers and artists can
respond to and use productively.
During the four-year course of study,
students take twelve courses in the liberal
arts: four in visual studies, six in the
humanities and two in social or natural
sciences. Required courses, Freshman
English, Readings in Western
Civilization and An Introduction to Art
History, are taken in the freshman year.
The rest are elective courses which are
described beginning on page 42.
About one third of the credits
required for the degree are taken in
the liberal arts.
'*fc>
"Jelly Roll Comic" by Ben
Martinez
30 Policies and Procedures
Diane Cambra, the Registrar
Ginny Sexton, Secretary of
Admissions
Your application for admission may be regarded as a dialogue
between you and this college, during which both of us learn
more about the other. You take the responsibility for
providing information about yourself in support of your
application. We take the responsibility to insure that you
have every opportunity to form a frank and complete
understanding of the Swain School of Design; its programs,
its environment and its potential value to you as a visual
artist.
understand them through the admissions process;
through our evaluation of each other. Ideally, the
decision will be one on which we can both agree,
since we will have reached it together.
Freshman Admission
A high school diploma or successful completion of
General Educational Development examination
(GED) is required for admission to Swain.
Students applying directly from high school are
generally considered only for fall admission,
although the Admissions Committee may provide
for spring semester admission.
There is no deadline for application, although
early application is recommended. The
Admissions Committee meets often to review
completed applications. Notifications of
committee action are sent out by the Admission
Office twice each month during the academic
year. After June first, applications are processed
on a continuing basis until all positions in the
entering class are filled.
Applicants should note that the most critical
deadlines are those for financial aid. Applications
for some state programs, for example, should be
filed by early February.
The following steps are required for admission to
the college:
1 . Complete the Application for Admission found
in this catalogue. If the application is missing,
write or call the Secretary of Admissions to
request the necessary materials.
Send the completed application and application
fee of $ 1 5 . 00 , payable to the Swain School of
Design, to: Mr. Peter W. Newport
Admissions Director
Swain School of Design
19 Hawthorn Street
New Bedford, Massachusetts 02740
Should the application fee represent an unusual
financial hardship, the Admissions Director may
waive the fee on the written request of a parent,
art teacher, or guidance counsellor.
Your application is evaluated by the faculty
Admissions Committee in consultation with the
Admissions Director. We consider your academic
record, interview reports, letters of recommen-
dation and your portfolio.
The work presented in your portfolio is considered
in the light of your individual background and is
the single most important factor influencing our
decision. Talent is impossible to judge absolutely.
Some successful candidates have had little or no
previous experience and others have had extensive
backgrounds. In any case, strong personal
motivation is essential.
Your grades are of interest to us since they are an
indication of where you have placed your priorities
as well as a record of how well you have done in
school. Letters of recommendation and
conversations with your art teachers and guidance
counsellors may also help us to evaluate your
application.
You can best measure our ability to meet your
expectations by visiting the campus and talking
with students and faculty about Swain. We will
try to keep you informed of on-campus activities
that may be of interest to you. In addition, we
will also notify you of opportunities to meet in
your area with representatives of the college.
When we reach a decision on your application, it
will reflect an assessment of our ability to meet
your educational goals as we have come to
Ad
mission
31
2. Arrange for your school to send an official copy
of your transcript to Swain. Unofficial, or student
copies, of transcripts are not suitable for
admission purposes.
3. Request letters of recommendation from people
who know either you or your work well.
Recommendations from art teachers and guidance
counsellors are certainly appropriate, but letters
describing your interests and achievements
outside the visual arts are frequently very useful,
also.
4. Choose or prepare two examples of your work
that meet the following specifications:
A. An 8V2 x 11 inch drawing in pencil, drawn
from life (i.e. while looking directly at another
person or into a mirror).
B. An 8x/2 x 11 inch drawing in pencil of a still-
life containing at least four objects, also from life.
Then submit these two examples for our review in
either of the following ways:
A. Send in the required examples of your work
before your Portfolio Interview. The Admissions
Committee can then consider your drawings,
together with your transcripts and letters of
recommendation, and make a preliminary offer of
admission. A formal offer may -be made once you
have satisfied the Portfolio Interview requirement
as described below.
B. Present the required examples with the rest of
the work you choose to include in your portfolio.
These two required drawings become part of your
application and are retained by the college. They
may be returned if your application is withdrawn,
provided that you supply sufficient return
postage.
5. Assemble a portfolio of your work to present as
part of your application. Your portfolio gives us a
clear indication of how you may benefit from
professional training in the visual arts. We look
for signs of accuracy and independence in the way
you see, and evidence of your ability to develop
visual ideas.
Your portfolio should include what you feel to be
your best and most representative work. The
pieces you choose as well as the manner in which
they are presented is largely for you to decide. We
have seen work presented of every imaginable
subject, including portraits, still-life studies,
abstract designs, interiors, exteriors, light plugs,
juke boxes, dogs, sewing machines, figures in
space suits, figures posing, boyfriends,
girlfriends, plans for underwater cities, package
designs for trick dice, stage sets, musical
instruments, pots and ceramic candies. Work in
any medium is acceptable but we have found that
drawings in black and white from life represent
your ability best. Please do not present work
copied from photographs.
Your portfolio should consist of about eight pieces
to fifteen pieces of original work. Slides are an
acceptable alternative in instances in which great
inconvenience will result if original work is
submitted.
6. Arrange a Portfolio Interview with a
representative of the Admissions Committee. This
occasion gives you and the interviewer a chance to
talk about your expectations and those of the
college as well as an opportunity to present your
portfolio for evaluation.
We prefer to interview candidates on the Swain
campus. However, if the demands of time or
distance present difficulty, the Secretary of
Admissions can make special arrangements in
individual cases.
With the exception of the required drawings
described above, Swain does not retain any of your
work following the interview.
Additional Admissions Recommendations
In addition to the steps required for admission
listed above, applicants may wish to consider the
following recommendations:
1. We recommend that applicants take the
Scholastic Aptitude Test (SAT) sometime before
the end of their academic senior year. Although it
is not required for admission, it provides us with
an additional means to evaluate your academic
ability.
2. For many students Swain is either their first or
single choice college. If you are sure this is true in
your case, please request Early Decision Plan
information from the Secretary of Admissions.
3. We recommend that all applicants complete
the financial aid section of the Application for
Admission bound into this catalogue. The
Admissions Office will routinely send all financial
aid applicants detailed descriptions of programs
available and precise instructions to follow to
complete the financial aid application process.
4. Writing, like drawing, is another way to
record the world around you. If you wish to send
us a sample of your written work, it may help us
to get to know you better.
The Swain School of Design supports the efforts of
secondary school officials and governing bodies to
have their schools achieve regional accredited
status to provide reasonable assurance of the
quality of the educational preparation of its
applicants for admissions.
Transfer Admission
Swain encourages students with previous college
experience to apply for admission at an advanced
level. Policies which pertain to the admission of
transfer students and to the award of credits in
transfer may be found beginning on page 38.
below.
32 Policies and Procedures
The Admissions Committee will consider transfer
applications for either fall or spring semester
admission. Applicants will insure the best
possible selection of elective courses by
completing the application process no later than
April first for fall semester admission and no later
than November first for spring semester
admission.
To apply as a transfer student you must meet all
application requirements specified for freshman,
as stated above, in addition to the following:
1. Provide a list of courses in which you are
currently enrolled, if applicable.
2. Include in your portfolio recent work which
represents the field in which you intend to study.
3. Have transcripts sent to Swain from all colleges
attended.
Commitment Deposit
Once you have been accepted, you must pay a
$50.00 commitment deposit within two weeks of
your notification of admission. That deposit is
refundable, upon your written request, at any
time before the first of May preceding fall
semester admission; or before the first of
December preceding spring semester admission.
After the first of May or the first of December,
whichever applies, the commitment deposit is
applied towards tuition charges and cannot be
refunded.
If you have been offered admission and wish to
defer your enrollment you may do so by notifying
the Admissions Director of your decision.
Commitment deposits that have been applied to
tuition charges will remain in force if your
notification is received before the fifteenth of the
month preceding that for which admission was
offered. Admission may be deferred for a
maximum of one year.
Special Students
Any individual may be admitted into credit
courses of the college as a Special Student, under
the following conditons:
1. A Special Student is not a candidate for the
Bachelor of Fine Arts degree.
2. A Special Student is admitted to a course by
consent of the instructor.
3. The applicant must have earned a high school
diploma or its equivalent; or be judged, by the
course instructor, to be of comparable age and
maturity.
4. Specific prerequisites must have been met to
the satisfaction of the course instructor.
5. Space in the course must be confirmed to be
available by the Registrar after regular students
have registered.
Individuals applying under this classification do
not pay the usual application fee, but do pay the
normal registration deposit and tuition charges as
listed on page 33.
Course credits accrued as a special student may be
counted towards the requirements for the
Bachelor of Fine Arts degree if a special student is
subsequently admitted into the degree program.
Courses Not for Credit
Individuals meeting the requirements of Special
Students may take courses not for credit. In this
case, tuition charges are equal to two-thirds of the
usual fee for the course.
Nickie Pelczar, Financial Aid
Officer.
Fees and Financial Aid
Financial Aid The financial aid program of the
Swain School of Design is intended to enable
students to meet the costs of attending the
college.
Federal financial aid guidelines state that the
primary responsibility for meeting the expenses of
higher education lies with the student and/or the
student's family. The amount a family can
reasonably expect to contribute to cover
educational costs, as detailed above, is established
through a need analysis based on the information
supplied by the student and the student's family
on the Financial Aid Form (FAF).
The extent to which estimated costs exceed the
funds available to the student is defined as
demonstrated need. It is this amount that the
college tries to match through various financial
aid sources. Financial aid to students at Swain is
provided in three basic forms:
Financial Aid 33
1. Grants are given without requiring the student
to work or to repay the money. The following
kinds of grants are available:
a. Pell Grants, (formerly, Basic Grant) provided
by the federal government. Students not eligible
for Pell Grants may be eligible for other federally
funded aid administered through the college.
b. Supplemental Educational Opportunity
Grants are also funded by the federal government,
but are administered by the college.
c. Swain School of Design scholarships.
d. State scholarships, provided by Massachusetts,
Rhode Island, and many other states to residents
of the respective state.
e. Other scholarship and grant programs
provided by independent agencies.
2. Employment opportunities are provided
during the school year and in the summer through
the College Work-Study Program.
3. Loan programs which permit students to
borrow funds at favorable rates of interest include
the National Direct Student Loan (NDSL) and the
Guaranteed Student Loan (GSL).
Tuition Fees The 1981-82 tuition fee for regular,
full-time study (12 credits or more) is $1,750. per
semester. For less than a full-time course of study
program, the fee is $ 115. per credit.
The college offers a $50. reduction in tuition for
students who pay fall semester tuition before May
1, or spring semester tuition before September 1.
For further information about these optional
programs please contact the Admissions office.
Tuition fees are payable upon registration for each
semester. Financial aid awards, if applicable, are
credited towards tuition obligations as funds are
received by the comptroller. Late registration may
result in an additional $50. charge, please see
page 36.
Two optional programs are available to help
families and students meet educational expenses.
Although the details vary, each program allows
the payment of school costs on a monthly basis.
These are as follows:
The Deferred Payment Program is a loan plan
which advances money to the parent to pay for
college costs. This program provides for
monthly payments and makes available a wide
variety of payment terms.
The Monthly Budget Program offers parents a
method of budgeting educational expenses
without going into debt. This program is not a
loan, tuition is prepaid in advance of each
school term.
Other fees and deposits which are described
elsewhere in this catalogue are listed below.
Appli cation Fee $15.00 see page 1 5 .
Commitment Deposit $50.00 seepage 32.
Studio Deposit $10.00 see page 1 0 .
Transcript Fee $ 2.00 seepage 38.
Other policies concerning payment of fees may be
found on page 36.
Refund of Tuition Fees Students withdrawing
from the college within the first two weeks of
school receive a refund of 75% of the tuition fee
and forfeit the commitment deposit. After the
first two weeks of school, no refund of the tuition
fee is available. Please see page 36 for withdrawal
procedures.
Cost of Education We estimate the total cost of
education at the Swain School of Design for the
198 1-82 academic year as follows:
Resident Commuter*
Tuition 1981-82 $3500 $3500
Books and Supplies 500 500
Room and Board 1875 400
Transportation 225 950
Personal Expenses 500 500
Total Estimate $6600 $5750
*Room and board provided by parents, trans-
portation expenses based on 60 mile round trip.
How to Apply for Financial Aid The Swain School
of Design strongly urges all applicants and
prospective applicants for admission to apply for
financial aid by completing either or both of the
preliminary steps below:
1. Complete the Financial Aid section of the appli-
cation for admission found in this catalogue. If the
application is missing, write or call the Secretary of
Admissions to request this application material.
2. Complete the Financial Aid Form (FAF) from
the state in which you are now a resident and
submit it to the College Scholarship Service as
soon after January 1 of the year in which you are
planning to attend college. For example, if you
intend to attend college during the 1982-83
school year, you should file your FAF soon after
January 1, 1982. Be sure you list the Swain School
of Design in the space provided in item number
44 of the FAF. Our school code is 3803.
All applicants for financial aid should be guided
by the following recommendations:
1. Do not assume that you are ineligible for
financial aid.
2. Be sure to observe deadlines. Deadlines for
some state programs are as early as February.
3. Take advantage of our experience with financial
aid. Personnel in both the Admissions and
Financial Aid Offices are able to answer your
questions.
34 Policies and Procedures
Student Services and Student Life
The Student Council plans a
number of parties and other
events during the year. To
the right, students prepare for
the Halloween party .
A significant part of the
Swain social life involves
gallery openings, small
concerts, and talks by
visiting artists , B elow ,
visiting designer Ivan
Chermayeff is wearing
3 -D glasses.
Housing Swain maintains a housing
service which receives information about
rooms and apartments available to
incoming students in the community.
Referrals are made on the basis of the
student's response to a questionnaire sent
out by the admissions office to determine
financial considerations and the type of
accommodation desired.
Housing expenses are estimated on page
33. Further questions may be directed to
the Office of the Director of Admissions.
Medical Care We advise all students to
participate in the student Blue Cross/Blue
Shield Master Medical group coverage
available through the college. Specific
information on this program is available
through the admissions office.
All students are covered for accidents
which may occur in the course of
activities sponsored or supervised by the
college. Maximum coverage is $1000: a
$25 deductible is borne by the student.
A medical doctor is available to consult
Student Services and Student Life 35
with any student. Arrangements may be
made through the Dean's office, but the
costs of consultation are borne by the
student. However, such costs may be
covered under the Blue Cross/Blue Shield
program mentioned above.
Counseling Students in need of
counseling, or of additional academic
help, may obtain it by consulting with
faculty members, the Dean or the
President. The low faculty-student ratio
and the small size of the school assures
that all students will have a personal
acquaintance with several members of the
faculty and administrative staff. The
school also recognizes an obligation to
assist its students in making contact with
the resources available in the community.
A consulting psychologist is available to
give additional counsel to any student on
a private basis. Arrangements for such
consultation may be made through the
Dean's office.
Faculty Advisors A member of the
faculty is appointed by the Dean to serve
as an advisor to each student. This
appointment is made in the fall, and both
student and faculty advisor are informed
of the appointment at the time of
registration.
The advisor's role is to be available to
discuss academic or other matters with
the student, as well as to take some
concern for the student's general well-
being. Faculty advisors are automatically
given copies of letters from the Dean's
office relating to academic matters.
Both student and advisor should feel free
to initiate discussion when appropriate.
Additional Services The college
maintains a cafeteria in the Rodman
Building. A book and supply store carries
most of the materials students need for
classes. Through the bookstore, the
college assembles a freshman kit for
incoming students so books and
hard-to-find materials are available as
needed during freshman year. Costs for
the kit vary from year to year, and are
borne by the student. Specific
information is available through the office
of the Admissions Director .
Student Participation in Institutional
Governance Each class elects two of its
members to serve on the Student Council.
One of these representatives from each
class is invited to attend the monthly
faculty meetings.
Students take an active part in the faculty
committee work of the college. They are
represented on the Academic Affairs
Committee, and the Gallery Committee
and help to monitor the academic pro-
gram of the college, and schedule gallery
presentations.
The Student Affairs Committee evaluates,
discusses and makes recommendations to
the faculty or administration in matters
regarding student life. This committee is
made up of five students, three faculty
members, the Financial Aid Director and
the Dean. This committee is the central
forum for issues that pertain to student
affairs.
Student insights are also considered
through representation on the Planning
Committee of the Board of Trustees
which concerns itself with the long-term
development of the college.
Extracurricular Activities The Student
Council plans extracurricular activities
according to the interests of the student
body. They have included informal
dances, a student sponsored film series,
and theatrical productions.
Each year Swain sponsors a number of bus
trips to museums and galleries in New
York and Boston. The school also
presents a series of lectures and
exhibitions by significant artists and
designers and other persons of interest to
the school community.
Student Conduct Students and faculty
at Swain are committed to their work to
an extent that makes problems of personal
conduct rare. However, a serious breach
of reasonable standards of conduct will be
regarded as the grounds for disciplinary
action which may include suspension
from the school.
The cafeteria and student
lounge are located in the
Rodman Building, and serve
as a meeting place for
students and faculty during
lunch and between classes.
36 Policies and Procedures
Academic Policies and Procedures
1 . Requirements for the Degree of Bachelor of Fine
Arts To qualify for the degree of Bachelor of
Fine Arts from the Swain School of Design, a
student must meet the following requirements:
A. A total of 120 credits in the following
distribution:
18 in freshman foundation studios
6 in An Introduction to Printmaking
12 in studio electives
12 in trial majors
36 in the liberal arts: 12 visual studies, 18
humanities, 6 social studies and natural sciences
36 in major studio, of which as many as 12 may
be in studio seminars.
B. Reviews:
Sophomore Review, accepted as satisfactory by the
faculty.
Junior Review, accepted as satisfactory by the
faculty.
Senior Review, accepted as satisfactory by the
faculty.
Senior Exhibition: work accepted as satisfactory
by the major instructor.
1. A review will not be accepted unless the
required letter of intent is approved by a
designated member of the faculty.
2. Credit will not be awarded for work done in the
major studio during the semester of the review,
unless the student presents a satisfactory review,
as evaluated by the faculty.
C. A grade of C or better (C— will not suffice) for
juniors and seniors for courses in the major field.
D. A minimum of 30 credits taken at Swain, 18 of
which must be in 300 - 400 level advanced studio
courses.
E. A minimum of 9 credits of 400 level studio
work in the student's chosen major field.
F. For the painting major, a student must take 6
credits of life drawing and 3 credits of figure
modeling.
For the sculpture major, a student must take 3
credits in Sculpture 200, Materials and
Techniques.
For the graphic design major, a student must take
3 credits in photography and 3 credits in Design
200, Production and Process.
G. Exceptions to the distribution requirement in
liberal arts may be made by the Chairman of the
Liberal Arts Department.
H. For incoming students, the Admissions
Committee may make exceptions to the studio
distribution requirements.
I. For students who are already enrolled,
exceptions in the studio distribution requirements
may be made by action of the faculty.
J. A senior may not graduate while on probation.
K. Seniors must submit six slides of their work to
the library.
2. Registration for Classes Returning students
are required to indicate during the spring
semester whether they intend to return to school
in the fall. Formal registration for classes,
including payment of fees, occurs on an
announced day immediately before the beginning
of each semester. A student is not counted as
registered for classes until all financial
arrangements for the term have been completed.
There is a fifty dollar fee for late registration.
A student may enroll for no more than 18 credits
in any one semester. A student who is on
probation may not enroll for more than 15 credits
during the semester of probation.
3. Changing Courses In order to withdraw from a
course, add a course, or change from one course to
another, the student must use the Notice of
Change of Course Form available from the
Registrar's office. It is the student's responsibility
to secure the instructor's signature and return the
completed form to the Registrar's office before the
deadline. The student will receive credit for new
courses added only if the Notice of Change of
Course form has been recorded by the Registrar by
the end of the second week of a semester. The
student will be allowed to withdraw from a course
without receiving a grade in it only if the Notice
of Change of Course Form has been recorded by
the Registrar by the end of the eleventh week of
the semester. After the eleventh week, any
withdrawal will automatically be recorded as an F.
4. Withdrawal from the College A student who
finds it necessary to withdraw from the college
during the semester must follow this procedure: A
freshman or sophomore who intends to withdraw
must meet with the Dean, and must submit a
letter to the Dean indicating the reason for
withdrawal. A junior or senior who intends to
withdraw must first meet with the chairman of
the major department, then must submit a letter
to the Dean indicating the reason for withdrawal.
In all cases, the date on which the Dean receives
Academic Policies and Procedures 37
the letter of withdrawal shall be considered as the
official date of withdrawal. Tuition refunds are
calculated on the basis of the official date of
withdrawal.
5. Attendance Students are permitted to be
absent from class only in extreme circumstances:
illness and emergencies. It is the student's
responsibility to notify the school of the absence
and its cause.
6. Grading
A. Credit Hours. Each credit hour represents
approximately three hours of productive work a
week, over the period of one semester. Typically,
in studio classes, two of those hours will be spent
in class and one will be in work outside of class. In
a liberal arts course, one hour is spent in class and
two hours are spent in work outside of class for
each credit. For example, a three-credit drawing
class will meet six hours a week and will require
about three additional hours outside of class time.
B. Grades. A grade report is given for each course
at the end of each semester. Mid-semester grades
are also given to all freshmen during the first
term, and when an instructor wishes to advise a
student of inadequate performance in a course.
We use the grade scale A, B, C, D, F to indicate a
student's achievement in a course. The grade A
designates true excellence; B, an original and
substantial contribution; C, that the student did
what was expected; D, that the student did
somewhat less. F indicates an inadequate
performance and does not carry credit.
No credit shall be given to juniors or seniors for a
grade of less than "C" in the major field of study.
"C" shall be an acceptable grade in a major studio
course. A student receiving a grade of less than
"C" in a major studio course will be placed on
academic probation.
C. Grade Averages. To calculate the grade
average we assign a number for each of the letter
grades. A is 4.0, B is 3.0, C is 2.0, D is 1.0,
F is 0. Each number equivalent of the grade the
student earns is multiplied by the number of
credits in the respective course. The resulting
numbers are totaled and divided by the total
credits for the term to give the student's grade
average for the term. The grade average is a
summary, giving an indication in a single
number, of how well a student is doing.
D. Grade Change. Once a grade has been
reported to the Registrar, it may only be altered
by the instructor upon approval of the Faculty
Affairs Committee.
E. Grade Appeal. If a student feels that an
extreme injustice has been done in the assigning
of a grade, the student may present the matter to
the Dean. If the Dean agrees that there is cause for
review, he may call a committee of three members
of the faculty to review the student's work, and
the grade assigned to it. If the committee finds
the instructor incapable of giving grades with the
normal degree of professional discernment, the
instructor's responsibility may be reassigned by
the Dean according to the usual processes of the
school.
F. Incompletes If, because of extraordinary
circumstances, a student is unable to complete the
work required for a course by the time the course
ends, the student may be given the grade of I
(Incomplete) by prior formal arrangement with
the instructor. The grade is a temporary grade,
and will automatically become an F if the required
work has not been completed within three weeks
of the beginning of the following term. In order
to carry a grade of Incomplete beyond this
three-week limitation, the student must secure
the written consent of the instructor and approval
of the Dean.
7. Academic Probation
A. Freshmen and sophomores with semester grade
averages of less than 1.7, and juniors and seniors
who have earned less than C in any course will be
put on probation. Students on probation may not
enroll for more than 15 credits during any single
semester until they have been removed from
probation.
B. A student on probation is required to submit
work for special review by a committee of the
faculty. This review will take place during the
semester in which the student is on probation.
During this review, the committee of the faculty
will evaluate the student's improvement and
determine whether the student should be removed
from probation, remain on probation, or depart.
It is the student's obligation, at this review, to
present evidence of significant improvement in
the area where previous trouble has led to the
probationary status. If there seems to be some
mismatch between the student and the standards
of the school, the student will be told so after this
review, and advised to leave the school. The
faculty may act to remove probationary status
following a satisfactory review.
38 Policies and Procedures
C. Except in extraordinary circumstances, a
student will not be permitted to continue in
enrollment after being on probation for two
continuous semesters.
D. The first obligation of a student who is on
probation is to remove himself from the
probationary status.
E. Students on probation may not enroll for more
than 15 credits during any single semester until
they have been removed from probation.
F. The faculty may act to place a student on
probation for reasons other than failure to achieve
a minimum grade point average. If the faculty
does so act, that fact, and the reasons for it, will
be conveyed to the student in writing by the dean.
G. The faculty may use its discretion in putting
any student on academic probation at the time of
the sophomore, junior or senior review.
H. A student cannot graduate while on probation.
8. Policy for the Assigning of Transfer Credit
Students accepted in transfer from other
institutions shall be granted transfer credit toward
the degree requirements of the school by action of
the Dean and the Registrar, subject to the
following policies:
A. Credit will be granted for college-level courses
that may be reasonably applied toward the degree
requirements of the school. Courses in the arts and
sciences will be transferable in so far as they meet
the distribution requirements in visual studies,
humanities, and social studies and natural
sciences.
B. Transfer credit will not be granted for courses
completed with less than a grade of C. Courses
graded C— are not acceptable.
C. Admission of a transfer student into a major
department, and placement within it, will be
determined by the chairman of that department,
or by a designated department member.
D. Questions of doubt concerning acceptance of
transfer credit will be referred for the
determination of the Admissions Committee, or
to the appropriate members thereof.
E. At the time of admission, or at any time after
the admission of a transfer student, the
Admissions Committee may act to apply up to 15
credits of transferable courses toward either the
studio or the liberal arts requirements for the
B.F. A. degree, on the basis of a portfolio review,
or of an evaluation of the student's demonstrated
competence in the liberal arts. Transfer students
must meet requirements for the Bachelor of Fine
Arts degree, as described in Section 1, above.
9. Change of Major Students changing their
major fields will be subject to the same rules that
apply to students transferring into the college
from other institutions.
10. Other Policies
A. Transcripts: Students and alumni in good
standing are entitled to request transcripts of the
record of the grades they have received and the
credits they have accumulated at Swain. Each
transcript costs $2.00 and is released only at the
written request of the student.
B. Student Property: The school reserves the
right to reproduce student work and to retain two
works from each student for eventual exhibition.
The student has the obligation to remove all other
property from the school premises at the end of
each academic year. At no time does the school
take responsibility for safeguarding student
property.
C. Payment of Fees: Students who owe money to
the school may not register for classes, receive
official grade reports, or receive transcripts of
their records. Such students may be given verbal
reports of their grades, however. The only
exceptions to this policy are as follows:
1. Students for whom funds are coming to the
school, sufficient to discharge their debts, as
confirmed to the Comptroller.
2. New students or returning students who have
financial aid applications in progress, may be
registered, pending receipt of aid funds, by action
of the President, upon the recommendation of the
Financial Aid Officer.
D. Graduation: Students who have not satisfied
all requirements for the B.F. A. degree, may
participate in the graduation ceremony with their
class, but not receive the diploma, as long as they
lack fewer than 12 credits of degree requirements.
E. Rights and Privacy Act: Section 438 of the
General Education Provisions Act, as amended,
also referred to as the Family Education Rights
and Privacy Act of 1974, was enacted by the
Federal Government in 1974 with a view to
protecting the privacy of students in certain
educational institutions. This statute, among
other things, governs access to official records
directly related to students which are maintained
by educational institutions, limits the release of
certain records to third parties, and contains
provisions permitting students to challenge the
contents of certain records. It is the policy of the
Swain School of Design to comply with this
statute, as amended, and the related rules and
regulations in implementation thereof issued by
the United States Department of Education.
Academic Calendar 39
Academic Calendar 1981-82
First Semester
September 8
September 9
September 23
September 30
October 12
November 2
November 1 1
November 25
November 26 & 27
December 1
December 16
December 17 & 18
December 21-23
Tuesday
Wednesday
Wednesday
Wednesday
Monday
Monday
Wednesday
Wednesday
Thursday & Friday
Tuesday
Wednesday
Thursday & Friday
Monday - Wednesday
Registration day: tuition fee due
First semester classes begin
Last day to drop, add or register for classes
Last day to make up incompletes
Columbus Day, no classes
Mid-semester grades
Veterans' Day, no classes
Last day to withdraw from a course
Thanksgiving recess
Second semester registration
Last day of classes
Examination period
Senior reviews
Second Semester
January 8
January 1 1
January 15
January 25
February 1
February 15
March 15
March 15-18
March 29
April 5
April 19
May 3
May 4 & 5
May 6 - 10
May 15
May 22
Friday
Monday
Friday
Monday
Monday
Monday
Monday
Monday - Thursday
Monday
Monday
Monday
Monday
Tuesday & Wednesday
Thursday - Monday
Saturday
Saturday
Second semester tuition fee due
Second semester classes begin
Martin Luther King Day, no classes
Last day to drop, add or register for classes
Last day to make up incompletes
Washington's birthday, no classes
Spring recess begins
Junior reviews
Classes resume - Last day to withdraw from a course
First semester 1982-83 registration
Patriot's Day, no classes
Last day of classes
Examination period
Sophomore reviews
Opening of Senior & Student Exhibition
Commencement
40 Course Descriptions
Course Descriptions
In Sculpture 151 an emphasis is
placed on size and space as they
relate to the human form.
Foundation: Freshman Year
Design 111, 112
An Introduction to Two-Dimensional Design
introduces those principles which underlie the
organization of all two-dimensional surfaces, the
manipulation of line, shape, space, color, value,
texture. The course is presented as a sequence of
problems. Instruction emphasizes the process
through which a visual idea is developed from first
sketch to completion. (2 semesters — 3 credits
each)
Drawing 121 , 122
Freshman Drawing presents some of the basic
problems, techniques and references of the artist.
The student observes naturally occurring
structures and translates them onto a page
through line, form, and the contrast between
light and shade. The second semester emphasizes
the study of the figure, including some study of
human anatomy. (2 semesters — 3 credits each)
Sculpture 151 , 152
An Introduction to Three-Dimensional Design
This course is basically concerned with the
organization of space, and the expansion of the
vocabulary of form. Emphasis is placed on
developing technical skills to facilitate the
translation of abstract ideas into tangible reality.
(2 semesters — 3 credits each)
Humanities 100, 105
Freshman English Writing is a craft of finding
and expressing one's convictions. Like drawing,
writing is a means for making oneself more
attentive to the working of the world. Like
drawing, writing is a translation from the three-
dimensional reality to the two-dimensional page.
This course develops that craft. In addition,
Freshman English presents for discussion
significant writing by a variety of authors.
(2 semesters — 3 credits each)
Humanities 110
Readings in Western Civilization The past
informs the present. Aspects of the lives we live
are organized in patterns as old as civilization.
Through the study of major texts, this course
presents some of the important themes that have
occupied thinkers during the history of Western
civilization. (Fall semester — 3 credits)
Visual Studies 1 00
An Introduction to Art History Anyone working
in the visual arts has two sources of information
and inspiration. One is the visible world. The
other is past art. This course explores the process
of looking at the art others have made. Students
are asked to notice what goes on in the act of
interpretation, and to become attentive to visual
evidence; to see beyond their own immediate
reactions. The object of this course is to introduce
the craft of seeing what another has seen, using
the work of art as a record of that vision. (Spring
semester — 3 credits)
Foundation: Sophomore Year
Printmaking 24 1 , 242
An Introduction to Printmaking All the major
printmaking media are introduced in this course.
Seven weeks are spent in intensive work with each
of the following: relief printing, silkscreen,
lithography, and intaglio printing (etching,
drypoint, aquatint). The course also presents some
of the history of printmaking, and the work of
major figures who helped to shape that history.
(2 semesters — 3 credits each)
Design 211, 212
Trial Major in Graphic Design is a foundation course
in graphic design. The course introduces
fundamental aspects of typography: type as
imagery, type as verbal message, the history and
development of type forms and type in
combination with other graphic elements. A wide
range of possibilities for those graphic elements is
suggested: collage, illustration, abstract or
geometric forms, etc. Students try a variety of
approaches to design and evaluate their work in
terms of solving visual communication problems.
(2 semesters — 3 credits each)
Painting 231 , 232
Trial Major in Painting This introduction to
painting builds on the foundation of freshman
design and drawing courses, and introduces basic
oil technique. In the course of the year, students
work through a series of studio problems: the still
life, the figure, the landscape — and study
traditional methods of representation and
composition. Painting from nature is stressed as a
teaching device, since it presents both students
and instructor an objective standard against which
to measure success in dealing with space, light,
form and color. (2 semesters — 3 credits each)
Course Descriptions 4 1
Sculpture 251 , 252
Trial Major in Sculpture is aimed toward students
considering a major in sculpture. The course
further examines basic materials, and attempts to
make the student more aware of the forms in the
natural and man-made environment. Drawing is
used as a vital means of recording and testing
these ideas. Class critiques provide for an
exchange of information and for developing a
better critical judgement. (2 semesters —
3 credits each)
Major Studios
Design 321, 322
Major Studio in Graphic Design is a continuation of
the trial major, but here the problems considered
are more complex. Students work in their studios
on assignments and meet weekly for group
critiques. Projects might include such things as
designing a series of book jackets, an identity
program for a small business or the layout of a
magazine article. During the junior year, a
student is expected to develop an individual
approach to solving design problems. (2 semesters
— 9 credits each)
Design 421, 422
Major Studio in Graphic Design The fourth year
is treated as the first year of the student's design
career. A portion of the work is assigned by the
instructor specifically to develop the student's
professional portfolio. The remaining time is
reserved for each senior, in concert with the
instructor, to assemble an independent design
program. The senior is expected to perform like a
professional designer. The instructor plays the
roles of consultant and client. (2 semesters — 9
credits each)
Painting 331 , 332
Major Studio in Painting Painting 331 builds on
the abstract theories introduced in freshman
design and the formal and observational skills
emphasized in sophomore painting. The emphasis
is on the careful observation and evaluation of
form, color, and composition. The students work
more independently, defining the direction their
painting will take. All juniors majoring in
painting are required to paint in the life studio
during the first term, and to attend technical
demonstrations and group critiques. (2 semesters
— 9 credits each)
Painting 431, 432
Major Studio in Painting Students are expected to
take increasing responsibility for their own
direction and acquire skill at clarifying their
goals. An important part of the major studio
consists in seminars on traditional and
contemporary art theory.
Throughout the senior year the teacher functions
as a critic.
The graduating senior is expected to assemble a
coherent and defensible body of work
demonstrating significant commitment to a
number of clearly specified problems and
concerns. (2 semesters — 9 credits each)
Printmaking 341 , 342
Major Studio in Printmaking The student who
chooses the printmaking major works in all the
principal printmaking media. Printmaking is
viewed not just as a technical exercise, but as an
aesthetic challenge that involves questions of
form, design, historical precedence. During the
course of the year students are expected to
demonstrate the appropriateness of the
printmaking media for the working out of their
visual ideas. (2 semesters — 9 credits each)
Printmaking 441 , 442
Major Studio in Printmaking By the senior year,
students are expected to already have the formal
mastery which will allow them to concentrate on
imagery and formal questions. Special attention is
given to exploring the graphic quality and the
character peculiar to different printmaking
methods.
The graduating senior is expected to assemble a
coherent and defensible body of work
demonstrating a significant commitment to a
number of clearly specified problems and
concerns. (2 semesters — 9 credit hours)
Sculpture 351, 352
Major Studio in Sculpture builds on the basic
information in problem-solving and use of
materials gained during the two previous years.
Students are encouraged to master the tools and
techniques they are already familiar with, as well
as more specialized ones introduced during the
third year. Frequent discussions with instructors
and regular group criticism with other students
are scheduled. (2 semesters — 9 credits each)
Sculpture 451 , 452
Major Studio in Sculpture The great amount of
time allotted to senior workshops allows for more
ambitious series or larger works. At this point,
students should be forming a commitment and a
sense of discipline, concentrating more deeply
upon those sculptural problems and materials
which they find most compelling.
The graduating senior is expected to assemble a
coherent and defensible body of work
demonstrating a significant commitment to a
number of clearly specified problems and
concerns. The final formal presentation is
evaluated on the basis of aesthetic quality and
professionalism in concept and execution, and
documented in slide form. (2 semesters —
9 credits each)
Painters and printmakers as well
as sculptors are encouraged to study
the human form in three
dimensions.
42 Course Descriptions
An exercise in photo-collage from
Design 112.
Studio Electives
Design 200
Production and Processes is an intensive technical
course that explains the basic materials, tools, and
processes that a graphic designer encounters.
Practical exercises take a job from sketches to final
printing. Areas covered include: methods of
specifying type for typesetting, the use of
photostats and halftones, mechanicals,
photosilkscreen, and commercial printing.
(3 credits)
Drawing 221
Life Drawing i is an intensive study of the human
figure, intended to enable the student to translate
exact observations to a page, and to understand
the formal principles that organize a page. In the
course of the semester, a number of attitudes
toward the human figure are introduced. Some
stress the idea that the body is a perfectly
organized structure; others stress the expressive
possibilities. (3 credits) Offered in the spring
semester.
Photography 213
This course develops the use
of the 35mm camera, basic techniques of film
exposure and processing, and black and white
printing. (3 credits)
Sculpture 200
Materials and Techniques in Contemporary
Sculpture teaches the proper use of equipment
necessary to manipulate steel, aluminum, bronze
and wood, and provides familiarity with the
properties of these materials in the light of
contemporary aesthetics. (3 credits) Note:
Sculpture 200 may be repeated for credit.
Sculpture 222
Figure Modeling The basic purpose of the course
is to allow the student to begin analysis of the
proportions of the human body, to experience a
form in space — a three-dimensional reality as
opposed to the two-dimensional illusion of
drawing. The course deals with reliefs in addition
to the free-standing figure, to provide a bridge
between drawing and sculpture. (3 credits)
Offered in the fall semester.
Note: Figure Modeling may be repeated for
credit.
Drawing 321
Life Drawing II Life Drawing I is a prerequisite
for this course, which the instructor may waive at
his discretion. Students are encouraged to apply
the media with which they are chiefly concerned
to this study of the human figure, and to join in
the criticism of each other's work and methods.
(3 credits) Offered in the spring semester. Note:
Life Drawing II may be repeated for credit.
Photography 313
Advanced Photography Students do more
advanced work with lights and studio equipment,
and are introduced to the view camera and large
format negatives. (3 credits)
Note: Photography 313 may be repeated for
credit.
Studio Seminar 400
Interdisciplinary Studies: Word and Image
Students examine the various places that writing
and visual art come together, in an attempt to
clarify the nature of each. Illustration, criticism,
the writing of artists and poets about visual art,
the language we use to describe visual objects,
conceptual art, and the possibility of inferring
meaning from a formal structure are among the
areas to be considered.
There will be assigned visual work, writing and
readings.
Class limited to 8 students from all departments
subject to approval of the instructors. (3 credits)
Offered as announced.
Studio Seminar 420
Advanced Color Theory and Application begins
with an examination of various color media
including painting, printing, sculpture,
architecture, stage design, textiles and film. It
proceeds with the study of the elements, the
science, the aesthetics, the traditional theories and
the psychology of color. Color will be regarded
according to its use as expression, as decoration, as
structure and as information. (3 credits)
Studio Seminar 440
Graphic Design Forum is a series of lectures and
seminars, coordinated by a member of the Design
Department, in which a number of professional
designers and other guests will present various
aspects of the profession. (3 credts) Offered as
announced.
Studio Seminar 450
Drawing for illustration The purpose of the
course is two-fold. It serves to advance the
student's skills in rendering the figure, still-life,
and architectural forms. At the same time the
student considers and resolves problems of
appropriate imagery and design, and learns
methods of research into literary and advertising
texts. (3 credits)
Liberal Arts Electives
Humanities 200
Myth and Fable examines the nature and meaning
of mythology. It considers aspects of mythic
narrative from antiquity to the present, and it
explores what myths can teach us about the world
and ourselves. (3 credits) Offered once every two
years.
Course Descriptions 43
Humanities 210
Reading and Writing Books for Children is designed
to provide a background in children's classics, as
well as to consider the needs of children as an
audience. Students enrolled in the course write
one long work for children. (3 credits) Offered
once every two years.
Humanities 220
The Structure of Theatrical Composition A
primary aim of this course is to provide a
thorough familiarity, by reading, with important
works that have been made for the theater. In
addition, students act, write, and direct enough
to gain some first hand understanding of the
nature of presenting a theater work publicly. (3
credits) Offered once every two years.
Humanities 240
Intermediate Writing is a basic orientation in the
rudiments of writing fiction, criticism, and
practical business forms. (3 credits) Offered once
every two years.
Social Studies 200
Technology and Society examines a series of
historical examples illustrating the interaction
between technology and society, beginning with
England in the eighteenth century and ending
with West Africa in the twentieth century.
(3 credits) Offered once every two years.
Social Studies 210
Readings in Cosmic Theory and Social Design
follows a historical sequence of written attempts
at discovering, defining, or controlling a
relationship between theories of world order and
society, from Heraclitus to Frank Lloyd Wright.
(3 credits) Offered once every two years.
Social Studies 220
On Science explores the historical development of
certain key themes in the sciences from antiquity
to the present and traces the evolution of our
explanations for the variety of species, for the
architecture of the universe, for the structure of
matter, and for the nature of vitality. Equal
attention will be paid to the process of scientific
discovery and to its cultural consequences.
(3 credits) Offered once every two years.
Visual Studies 210
A Survey of the History of Art before 1400 presents
the history of the art of the Western world prior to
the Renaissance. (3 credits) Offered every year.
Visual Studies 215
A Survey of the History of Art since 1400 presents
the history of the art of the Western world from
the Renaissance to the present. (3 credits) Offered
every year.
Left, self-portrait by Cathy
McGuiness made as part of a
guided studio in photography .
With the instructor 's permission ,
guided studios . providing
individual instruction on special
projects, are available in all
departments.
44 Course Descriptions
The darkrooms are located in the
basement of the Rodman, and are
open to students in all departments.
Humanities 300
Poetry Workshop Students write poems, and
criticize, discuss and revise them in order to
understand poetry as a means for clarifying
thought. To further explore the nature of poetry,
there are readings from major nineteenth and
twentieth century poets. (3 credits) Offered once
every two years.
Humanities 310
The Invention of America presents American
literature in its historical context, examining the
way in which that literature reflects principal
themes in American social and intellectual
history. (3 credits) Offered once every two years.
Humanities 320
Seminar on the Work of One Writer or School of
Writers is a careful study of the works of a
significant literary figure or movement, and of the
world that is reflected in those works. The specific
individual or movement whose works are to be
examined varies from year to year. In one version
of this course students read Ronsard, in another,
Chaucer. (3 credits) Offered once every two years.
Social Studies 300
The History of the Future: The Utopian Vision
Through an examination of a historical sequence
of attempts to define the perfect human
community, this course explores the values and
perils of the Utopian imagination. (3 credits)
Offered once every two years.
Social Studies 310
Readings in the Literature of Exploration studies
first-hand narrative accounts by witnesses or
participants in explorations and discoveries of
historical or scientific importance, from Marco
Polo to Teillhard de Chardin. (3 credits) Offered
once every two years.
Social Studies 320
Seminar on the Work of One Social Thinker or
School of Thought This is a careful study of the
work of a single social thinker or movement and
the effect of this work on contemporary and
subsequent social thought. The thinker or
movement whose works are to be examined varies
from year to year. (3 credits) Offered once every
two years.
Visual Studies 310
The Beginnings of Modern Art traces the
development of modernism, beginning with the
first Impressionist exhibition and ending with the
dispersal and migration of artists from Europe in
the late 1930's. (3 credits) Offered once every two
years.
Visual Studies 320
Italian Renaissance studies painting, sculpture and
architecture from Giotto to Michelangelo. The
class examines developing techniques and varying
approaches to subject matter and the way they
reflect shifting intellectual and social attitudes.
(3 credits) Offered once every two years.
Visual Studies 330
The History of Architecture is a survey which traces
the history of architecture and explores the social,
cultural, and aesthetic implications of the
monuments of architecture from paleolithic times
to the present. (3 credits) Offered once every two
years.
Visual Studies 335
Modern Sculpture traces the roots and
development of modern sculpture, examining its
frequently changing formal and expressive
manifestations, from Rodin to the present.
(3 credits) Offered once every two years.
Visual Studies 340
Art in the 19th Century explores the variety of
definitions given to realism in the 19th century,
and traces the emergence of those particular
formal concerns which, at their extreme,
contribute to the logic of modernism. The course
begins with a consideration of David and
Neo-Classicism and concludes with an analysis of
the late works of Cezanne and Monet. (3 credits)
Offered as announced.
Visual Studies 345
Design History traces the evolution of the practice
of graphic design. Major developments in
printing from Gutenberg's time are discussed as
an introduction, but the focus of attention is on
developments in printing, typography and related
fields in the 19th and 20th centuries. Several
themes accompany the presentation of work in
addition to questions of style and formal qualities:
changes in methods of training graphic designers,
the social role of graphic designers and the impact
of changing technologies. (3 credits) Offered as
announced.
Visual Studies 350
Art Since 1945 focuses on major artistic movements
in America since 1945 — our modern tradition.
It explores what these American movements are
by seeing what triggered them, how they
developed and how they affected both
contemporary and later developments. This
interweave of modern tradition is followed
Course Descriptions 45
through the art of the 60's. (3 credits) Offered
once every two years.
Humanities 400
Creative Writing: The Craft of Fiction examines the
writing of fiction as a fine art. Each student in the
course writes a single work of fiction to a
minimum length of 75 pages. Students read and
criticize each other's work. (3 credits) Offered
once every two years.
Humanities 410
History Workshop History is a way of reflection
on those things which have been lost from human
experience, a way of exploring themes which keep
recurring, a way of thinking about the present as a
moment which began ten or ten thousand years
ago. This course focuses on the act of writing
history. Each student writes a historical essay
based on evidence gathered from such sources as
photographs, maps, letters, diaries, business
accounts, newspapers. (3 credits) Offered once
every two years.
Humanities 420
Seminar in Ethical Theory: The Sense of Evil is an
examination of crucial ethical themes in the
history of Western culture, as revealed in the
works of Plato, Augustine, Huysmans and
Baudelaire. (3 credits) Offered once every two
years.
Social Studies 400
Social Theory examines theories of society,
exploring and evaluating a sequence of written
attempts to define the nature of economy, politics
and law. (3 credits) Offered once every two years.
Social Studies 410
Workshop in Social Observation introduces
students to the art of social inquiry. Through a
sequence of readings, students consider the
perspectives of the ecologist, the anthropologist,
the sociologist and the psychologist. Each student
is expected to write a work of considerable length
based on first-hand observation of some aspect of
social behavior. (3 credits) Offered once every two
years.
Humanities 450
Guided Reading A student may work with an
instructor on an individually designed program of
reading. The department must approve the
program in advance. Enrollment in Guided
Reading is limited. (3 credits) Offered every
semester.
Humanities 460
Guided Writing A student may work with an
instructor on an individually designed program of
writing. The department must approve the
program in advance. Enrollment in Guided
Writing is limited. (3 credits) Offered every
semester.
Social Studies 450
Guided Reading A student may work
individually with an instructor on an individually
designed program of reading. The department
must approve the program in advance.
Enrollment in Guided Reading is limited. (3
credits) Offered every semester.
Social Studies 460
Guided Writing A student may work
individually with an instructor on an individually
designed program of writing. The department
must approve the program in advance.
Enrollment in Guided Writing is limited.
(3 credits) Offered every semester.
Visual Studies 400
Aesthetics and Criticism By reading and
discussing a sequence of major works, students
examine the variety of philosophies of art and
explore the way in which each can be used as a
basis for criticism. (3 credits) Offered once every
two years.
Visual Studies 410
Landscapes The goal of the course is to provide a
new approach to the consideration of landscape
painting. Students examine a series of topics
concerning the discovery of form in terrain, and
the imposition of form on it: gardens,
fortifications, cartography, city building, roads,
agriculture, and earth works. (3 credits) Offered
once every two years.
Visual Studies 420
Workshop in Exhibition Members of this seminar
consider the relationship between art and
audience. Students conduct a careful experiment
in formulating, documenting and presenting a
modest exhibition using art drawn from outside
the school community. (3 credits) Offered once
every two years.
Visual Studies 450
Guided Reading A student may work
individually with an instructor on an individually
designed program of reading. The department
must approve the program in advance.
Enrollment in Guided Reading is limited. (3
credits) Offered every semester.
Visual Studies 460
Guided Writing A student may work
individually with an instructor on an individually
designed program of writing. The department
must approve the program in advance.
Enrollment in Guided Writing is limited.
(3 credits) Offered every semester.
Also located in the Rodman
Building are light tables, dry
mounting and photostat equipment.
46 Trustees, Administration, and Faculty
Left to right, James Da vies,
Nick Kilmer, and Peter
Newport
Trustees, Administration & Faculty
Board of Trustees
HELGA FINGER, Chairman
WILLIAM H. POTTER, Treasurer
RICHARD A. PLINE. Clerk
BLAIR BROWN
HELEN K. GODDARD
GEORGE GRAY
SEVERIN HAINES, Faculty Representative
ELDREDGE H. LEEMING
CAROL LEESON, Alumni Representative
FRANCES LEVIN
PETER NICHOLSON
ANTONE G. SOUZA, JR.
MILLICENT TUCKERMAN
SUZANNE UNDERWOOD
JOSEPH L. VALLES
SUMNER J. WARING, JR.
MARION WILNER
Administration
JAMES DAVIES, President
B.A. University of Michigan
M.A. University of Michigan
Ph. D. University of Michigan
NICHOLAS KILMER, Dean
B.A. Georgetown University
M.A. Harvard University
SARAH BENHAM, Gallery Director
B.A. University of Mississippi
ELIZABETH C. BRYANT, Comptroller
DIANE B. CAMBRA, Registrar
FRED GOMES, Superintendent of Buildings and
Grounds
PETER W. NEWPORT, Admissions Director
B.F.A. Swain S chool of Design
NICKIE PELCZAR, Financial Aid Officer
JANE G. PHELPS, Director, Development and
Public Relations
B.S. Rhode Island College
M.A. University of Rhode Island
ALLEN REMORENKO, Continuing Education
Director
B.A. North Carolina Wesley an College
ANGELA SCIOTTI, Library Director
B.A. Salve Regina College
M.L.S. University of Rhode Island
CHERYL ZIEGERT, Student Services Director
B.A. University of Illinois
M.A. University of Chicago
LILI HSING, Secretary to the President
GRACE JONES, Supply Store Manager
VIRGINIA SEXTON, Secretary of Admissions
Trustees, Administration, and Faculty 47
Faculty
JACQUELINE BLOCK
Assistant Professor of Painting
B.T.A. The Cooper Union
JAMES P. BOBRICK
Assistant Professor of Liberal Arts
Chairman of the Liberal Arts Department
A.B. Boston University
Ph. D. Boston University
CHERYL ANN BRZEZINSKI
Instructor in Graphic Design
Chairman of the Graphic Design Department
B.F.A. Western Michigan University
M.A. Western Michigan University
PETER DeWALT
Instructor in Design
B.S. Rochester Institute of Technology
RICHARD DOUGHERTY
Assistant Professor of Painting
B.F.A. Maryland Institute College of A rt
M.F.A. Maryland Institute College of Art
SEVERIN HAINES
Assistant Professor of Painting
Chairman of the Painting Department
B.F.A. Swain School of Design
M.F.A. Yale University
KAREN HURST
Instructor, English Laboratory
B.A. University of Calif orina, Berkeley
M.A. Southeastern Massachusetts University
NICHOLAS KILMER
Associate Professor of Liberal Arts
Dean
A.B. Georgetown University
M.A. Harvard University
BENJAMIN MARTINEZ
Assistant Professor of Painting
B.F.A. The Cooper Union
JOHN OSBORNE
Associate Professor of Printmaking
Director of the Foundation Program
N.D.D. Medivay College of Art
M.F.A. California College of A rts and Crafts
JEFFREY PIKE
Instructor in Graphic Design
B.F.A. Kansas City A rt Institute
M.F.A. Syracuse University
GARRISON ROOTS
Instructor in Sculpture
B.F.A. Massachusetts College of Art
M.F.A. Washington University
DAVID ROSENBERG
Instructor in Liberal Arts
B.A. Ithaca College
M.A. University of Massachusetts, Amherst
DAVID LOEFFLER SMITH
Professor of Painting
B.A. Bard College
M.F.A. Cranbrook Academy of Art
ESTHER SOLONDZ
Instructor in Photography
B.A. Clark University
M.F.A. Rhode Island School of Design
MARC ST. PIERRE
Instructor in Printmaking
Chairman of the Printmaking Department
B.F.A. Laval Universite
M.F.A. Southern Illinois University, Edwardsville
ROBIN TAFFLER
Instructor in Sculpture
Chairman of the Sculpture Department
B.F.A. Kansas City Art Institute
M.F.A. Cranbrook A cademy of A rt
JUDITH TOLNICK
Instructor in Liberal Arts
B.A. Brandeis University
M.A. Brown University
Mark St. Pierre, center, in
the pressroom of the print-
making department
48 Maps
How to Get Here
1 Crapo Building
Admissions Office
Registrar
Dean 's Office
Painting Department
Gallery
Bookstore
2 Currier Building
3 Library
4 Melville Building
5 President's House
6 Rodman Building
Business, Financial Aid
Office
President's Office
Design Department
Cafeteria
7 Rodman Annex
8 Elm St. Garage
Printmaking Department
Sculpture Department
9 Genensky Building
Maintenance
1 North to:
1 Interstate 195
1 Boston
1 Providence
Rt. 6 West (Mill Street)
1 Crf/tf Corf'
Rt. 6 East (Kempton Street)
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Elm Street
Whaling Museum
Morgan Street
Court Street
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Swain School of Design Campus
Maps 49
To:
Hartford
New York City
Southeastern New England
North to:
Boston
Interstate 195
Buttonwood
Park J,
Route 6
Union Street
Hawthorn Street
East to:
Cape Cod
New Bedford
Harbor
New Bedford
Swain School of Design 19 Hawthorn Street New Bedford, Massachusetts 02740 (617)997-7831