NewHampshireINSTITUTEofArt

2011

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C O N T E N T S

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Programs of Study . . . . . . . . . . . . . . . . . . . . .5

Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Photography . . . . . . . . . . . . . . . . . . . . . . . . .21

Interdisciplinary Arts . . . . . . . . . . . . . . . . . .24

Art Education . . . . . . . . . . . . . . . . . . . . . . . .26

Creative Writing Minor . . . . . . . . . . . . . . . .28

Printmaking Minor . . . . . . . . . . . . . . . . . . . .29

Policies & Resources . . . . . . . . . . . . . . . . . .30

Academic Calendar . . . . . . . . . . . . . . . .38–39

BFA Courses . . . . . . . . . . . . . . . . . . . . . . . . .40

Faculty & Staff . . . . . . . . . . . . . . . . . . . . . . . .52

Admission . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Application . . . . . . . . . . . . . . . . . . . . . . .59–60

“A creative outlookinstilled at the correct timewill form the nucleus of an

individual’s thinking forthe rest of his or her life.”

– PAT R I C K M C C AYA c a d e m i c D e a n

Welcome

T H E N E W H A M P S H I R E I N S T I T U T E O F A R T offers a visual artseducation designed to fully inspire and foster a lifelong commitment andactive engagement in the world of art and culture.

The Institute’s teaching philosophy positively embraces the buildingand development of formal skill and technique while remaining dedicatedto productive experimentation, intellectual engagement, and individualexpressive voice.

Anchored in a developmentally appropriate balance between technicalfacility and conceptual expansion, students are nurtured in a community ofvisual artists negotiating the artistic challenges of production andprofessionalism. The Institute fosters an awareness and engagement to therole and benefits of creative interaction with the community and society as awhole. The opportunities for personal growth and artistic accomplishmentare extraordinary.

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Y O U R S PA C E W I T H I N A N A R T I S T I C C O M M U N I T Y

The Institute campus facilities continue to develop and to accommodate agrowing enrollment. The recent addition of the Lowell Street building serves tomeet a comprehensive range of classroom and studio needs for all levels anddisciplines. Lowell Street’s features include several liberal arts classrooms, digitallabs, drawing studios, sculpture studio, and design studios. It also includesfaculty office space and meeting space for students, faculty, and staff. It is thefirst studio space attached to student housing.

The large, open, fully equipped, light-filled studios of Amherst Streetprovide for the needs of Foundations, Illustration, Drawing/Painting, andCeramics. Two expansive levels of Senior Studio spaces can be found in thenew Concord Street building. Concord Street also houses Student Affairs,Counseling, and Academic Advising and Assessment, as well as thematting and framing shop.

The original historic French Building has been refitted to provide for thedeveloping printmaking area with new presses, a silkscreen lab, and theintroduction of another fully equipped, digital classroom. Students will finddrawing and painting studios, jewelry and metalsmithing, liberal artsclassrooms, an exhibition gallery, the Hubenthal Lecture Hall, and the FrenchAuditorium. The French Building also houses administrative offices, includingthe President’s Office, Academic Affairs, Continuing Education, and the Bursar.

Fuller Hall continues to house the Institute’s Teti Library with its new,separate Special Collections room and serves as the primary, state-of-the-art,digital arena for the Institute’s Photography and Illustration concentrations. TheAcademic Support Center, Vault Gallery, Salvador Deli, and the Registration,Admissions, and Financial Aid offices are also located in this building.

FA C U LT Y

The New Hampshire Institute of Art faculty represents a distinguishedgroup of active artists, scholars, and gifted teachers. They bring a uniquecombination of professionalism and real-world experience to the classroom.

The Institute’s student-to-teacher ratio ensures an intimate learningenvironment. Faculty members serve as instructors and mentors, acquiringinsight into the needs and accomplishments of each student. This enablesstudents and faculty to develop individual goals while participating in critiques,advising, and cocurricular activities. The studio setting is an important aspect ofan education in the arts. The faculty at the Institute is committed and available toensure that this experience is as productive and challenging as it is informative.The interaction of student artists and faculty in this setting is invaluable to theacademic and personal growth of each student.

Tampa, FL

Atlanta, GA

Chicago, IL

Charlotte, NC

Washington DC

Philadelphia, PA

New YorkHartford, CT

Boston, MA

Bangor, ME

NHIA

Montreal

Dallas, TX

Toronto

Minneapolis, MN

M A N C H E S T E R : T H E C O L L E G E T O W N

The New Hampshire Institute of Art is located in the heart of New Englandin beautiful and historic Manchester, New Hampshire. Easy access to Boston, theNew England seacoast, the Lakes Region, and the White Mountains providesmultiple opportunities for recreational activities and sightseeing. Manchester’srenaissance has seen the emergence of the Verizon Wireless Arena andMerchantsAuto.com Stadium, now giving students exciting venues for sportingevents and concerts within walking distance of the Institute. Manchester hasbecome a cultural hub in attracting nationally recognized artists, musicians, andperformers who schedule appearances at the historic Palace Theatre andshowcase work at the world-class Currier Museum of Art.

Manchester also offers an abundance of outdoor recreational activitieswithin the city limits. The Massabesic Reservoir, a 2,200-acre lake located just 10 minutes from campus, offers miles of mountain biking and hiking trails,canoeing and kayaking, fishing, snowshoeing, and cross-country skiing.McIntyre Ski Area, where students can ski or snowboard, is located only fiveminutes from the Institute.

H O U S I N G A N D F O O D S E R V I C E

The New Hampshire Institute of Art operates five residence halls for on-campus student living. The five residence halls are: The Merrimack, Lowell Street,The Plaza, Institute Hall, and The Hampshire.

Lowell Street, opened during the fall of 2009, is a new building with many“green” features, including a geo-thermal heating and cooling system, solarenergy collectors, and a garden on part of the rooftop. For residents, it offers

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double-suite style dorm rooms, laundry and trash rooms on every floor, anda student lounge located on the top floor with a large open window for animpressive view of the Manchester area.

The Merrimack, also opened in 2009, is an upperclassman andnontraditional student house located on the corner of Merrimack and Unionstreets. It is newly renovated but retains much of the character of its formerpurpose for St. Anne’s Parish.

The Plaza is located on Mechanic Street, directly across from InstituteHall. This renovated, air-conditioned dorm includes a student lounge,kitchen, laundry room, skylights, indoor gardens, reading area, and acommunity studio space that allows 24-hour studio access within thedormitory.

Institute Hall is a coed dormitory two blocks from campus with twofloors of living space in a secure and comfortable environment. Institute Halloffers student lounges, laundry rooms, and kitchen facilities on each residentfloor and free YMCA membership to residents.

A dormitory for female students, The Hampshire is a classic Victorianbuilding located within two blocks of the Institute. With 26 rooms, this facilityprovides a home-like atmosphere for students. The beautifully renovatedspace includes on-site laundry facilities, a formal parlor, a living room, and akitchen.

All residential students are housed in single, double, or triple rooms, andeach student is provided a twin bed, dresser, desk, and chair. Drawing tablesare optional. Wireless Internet is provided by the Institute at each residentialhall. Washers and dryers are free for all residents.

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THE NEW HAMPSHIRE INSTITUTE OF ART’S FRENCH BUILDING TODAY AND AS THE MANCHESTER INSTITUTE OF ARTS & SCIENCES IN 1916.

Food service is available on campus at the Salvador Deli, located on thefirst level of Fuller Hall. Sandwiches, soups, muffins, bagels, healthy snacks,and juices are just a few of the delicious options available. Students canpurchase food with cash, a credit card, or an ArtBucks card, available forpurchase at the Bursar’s Office.

Many other eating establishments are located within and around theInstitute’s campus and on nearby Elm Street. Many students choose toprepare their own meals at the dormitories and find it convenient to stockthese facilities from local grocery stores.

H I S T O R Y O F T H E I N S T I T U T E

Founded in 1898 as the Manchester Institute of Arts and Sciences, thegoal of the founders was to cultivate an appreciation of the arts throughprogressive, educational instruction. Apart from its mission as aninstitution of higher education, the Institute serves as an importantcultural center for the state of New Hampshire. In 1924, the State Board ofEducation certified the Institute’s four-year program to prepare highschool graduates to teach art.

In 1997, the New Hampshire Postsecondary Commission authorizedthe Institute to award the Bachelor of Fine Arts degree. At that time, theInstitute became the New Hampshire Institute of Art. In 2001, the NewHampshire Institute of Art received accreditation from the NationalAssociation of Schools of Art and Design. The Institute is a candidate foraccreditation from the New England Association of Schools and Colleges.

With the opening of Fuller Hall in 2001, the Institute doubled the size ofits urban campus. This dramatically increased the quantity and quality ofclasses offered by the Institute. In 2004, the Institute teamed with the GreaterManchester YMCA to offer the first residential space for BFA students atInstitute Hall. The following year, the Institute completed the merger withthe Settlement Association and now offers an all-female dormitory space atThe Hampshire. The acquisition of the 77 Amherst Street building, in 2005,enabled the Institute to increase studio space by 80 percent. The Institutepurchased the 153 Concord Street building for senior studio space and in2007 opened the newly renovated Plaza dormitory.

In 2009, the Institute added the Merrimack as housing forupperclassmen and non-traditional students and also opened its first greentechnology building, the Lowell Street building which offers additionalclassroom, office, and dormitory space.

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L I B E R A L A R T S

The New Hampshire Institute of Art’s liberal arts curriculum fosters theoverall enrichment and growth of its students as it complements, unfolds,and ramifies their work as artists. First-year students at the Institutecomplete two semesters of composition courses. These foundational writingcourses are designed to inculcate thinking and revising tendencies in ourstudents, with an eye toward more creative and competent writtenexpression. As sophomores, students undertake ongoing, comprehensiveinstruction in art history that provides a solid background in artists, cultures,and movements and that affords students contemporary and historicalcontexts for their work. The BFA curriculum also offers courses in math,social science, literature, humanities, history, science, related arts, andphilosophy. A course titled “The Professional Artist” helps students bridgeacademic and practical pursuits to anticipate the life of the working artist.

The liberal arts program supports excellence in teaching and oftenrecruits arts-oriented scholars who are highly qualified educators and activecommunity members. They provide curriculum that balances the teaching ofartistic and technical skills with the development of critical, intellectual, andcreative abilities. Ultimately, opportunities for personal reflection, criticalthinking, and academic research underscore all liberal arts courses at theInstitute, ensuring that students gain a robust general education thatinforms and radiates into and beyond the significant touchstone of artmaking.

B FA C O U R S E R E Q U I R E M E N T S F O R G R A D U AT I O N

Students are required to complete 120 credits: 45 credits in liberal arts (to include 12 credits of art history), 63 credits in studio courses, and 12 credits of elective coursework, which may include up to two courses in liberal arts.

Liberal Arts Requirements� English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(9 credits)� Math . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)

� Social Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(6 credits)� Art History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(12 credits)� Humanities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Related Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits) � The Professional Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)

45 CREDITSFoundations (Freshman) Year Studio Requirements� Foundations 2D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Color Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Foundations 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Materials and Processes . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Foundations Drawing I . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)� Foundations Drawing II . . . . . . . . . . . . . . . . . . . . . . . . . . . .(3 credits)

18 CREDITSStudio Concentrations� Introductory, intermediate, and advanced

courses in the concentration . . . . . . . . . . . . . . . . . . . . . . . .(39 credits)AND� Course electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(12 credits)� Senior Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(6 credits)

57 CREDITSInterdisciplinary Arts Course of Study*� Introductory, intermediate, and advanced requirements . . . .(27 credits)� Introductory, intermediate, and advanced electives . . . . . . . .(24 credits)� Senior Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(6 credits)

57 CREDITSTotal Credits Required for Graduation: 120 CREDITS

Art Education Certification� Students seeking a certification in art education should refer to the program

requirements and criteria for acceptance described on pages 26 and 27.

� Students interested in one of the MINORS, Creative Writing or Printmaking, shouldrefer to the requirements described on pages 28 and 29 respectively.

* Students seeking an Interdisciplinary Concentration must meet the criteria foracceptance (see page 25).

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Programs of Study

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The Foundations program at the New Hampshire Institute of Artembraces the necessary experiences critical to building language and skillsfor the upper-level classes. The program builds the skills that heighten visualperception imperative for aesthetic problem resolution. Foundations servesas a preface to concepts that function as underpinnings for skills laterdeveloped in other concentrations. Classes in the Foundations departmentsplit into two distinct categories: those that build analytical skills by usingtheory to solve creative problems and those that enhance technical skillsand teach practical application. Students learn to analytically assess the art-making process using formal art theory and then apply those analyticalskills to the art-making process, as they proceed through to theirconcentrations.

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F O U N D AT I O N S – A L L S T U D E N T S

FALL SEMESTER SPRING SEMESTER

Foundations Drawing I Foundations Drawing II2D Design or 3D Design 2D Design or 3D DesignColor Theory or Materials and Processes Color Theory or Materials and ProcessesMath Introductory Studio ClassEnglish Composition I English Composition II

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In an era of intense change, the Institute’s Painting curriculum fosters arigorously creative learning experience that draws on the past and engages thefuture. The nourishing instructional environment provides demonstrations,lectures, critiques, and an ongoing dialogue with a diverse range of faculty.

The first part of a student’s journey emphasizes the study of traditional,technical, and formal skill building in the area of drawing and painting. Therole of critical dialogue is introduced as a student seeks to uncover andunderstand his or her passion and potential career paths.

Our Digital Fine Art Track begins with this same formal practical andconceptual training, and then students are given the opportunity to engagethe world of art using digital tools as their medium. Digital Fine Artintegrates the knowledge of painting, collage, and mixed media withcontemporary-based methods of production.

Painting

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PA I N T I N G C O N C E N T R AT I O N

FALL SEMESTER SPRING SEMESTERPainting II Painting III: The FigureFigure Drawing I Figure Drawing IIPrintmaking I Digital Imaging ISurvey of Art History I Survey of Art History IISocial Science English/Literature

FALL SEMESTER SPRING SEMESTERPainting IV: Landscape or Digital Fine Art I Painting V: Analog or Digital Fine Art IIPainting: Water-based Media Printmaking IIArt History Sculpture Humanities The Professional Artist Social Science Science

FALL SEMESTER SPRING SEMESTERSenior Studio I: Analog or Digital Fine Art Senior Studio II: Analog or Digital Fine ArtDrawing Special Topics Painting Special TopicsElective Elective Art History ElectivePhilosophy Related Arts

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The conclusion of the painting journey will see the negotiation ofmore advanced and complex processes and concepts. The senior yearexperience is designed to culminate in the student’s achievement of anexpressive and authoritative voice, reflected in the production of a solidbody of thematic work.

DIGITAL FINE ART TRACKIn recent years, the use of the computer has been integrated into several

areas of the fine arts. Our Digital Fine Art Track affords the student theopportunity to integrate and refine computer-based skills and merge themwith traditional artistic methods involved in the creation of drawing,painting, mixed media, and collage. Beginning with Digital Imaging I, whichteaches students fundamental digital media skills, the Digital Fine Art Trackexpands students’ ability to engage all genres of art. This course maintainsthe Institute’s focus on the establishment and development of basictechnical and aesthetic skills in which all forms of art are grounded, yetgives the student access to digital media with which one can render creativeand aesthetically compelling artwork in many forms and in many ways.Students learn digital skills and concepts ranging from composite imagingto digital painting. The Digital Fine Art Track culminates with Senior Studio,in which students are fully engaged in exploring independent concepts andvision with digital media.

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Successful illustration conveys intelligent, well-conceived ideas thatvisually solve the challenges of an assignment within given time constraints.After a rigorous Foundations program steeped in the skill-based traditionsof drawing and painting, students will explore and advance their ownpersonal artistic vision with an emphasis on conceptual development andresearch. Building upon the foundations of technical virtuosity, students willactively engage the range of digital media to develop abilities that will fullyfacilitate the fluent expressive output of individual ideas and imaginations.The program provides a professional preparation for the commercial fieldand training with nationally acclaimed artists in a state-of-the-art facility.

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Illustration

I L L U S T R AT I O N C O N C E N T R AT I O N

FALL SEMESTER SPRING SEMESTERIllustration: Traditional Media Printmaking or Graphic DesignFigure Drawing I Illustration: AvenuesPainting I Painting IISurvey of Art History I Survey of Art History IISocial Science English/Literature

FALL SEMESTER SPRING SEMESTERFigure Drawing II Illustration: SeriesDigital Illustration Advanced Digital IllustrationHistory of Illustration HumanitiesPainting III: The Figure The Professional ArtistSocial Science Science

FALL SEMESTER SPRING SEMESTERSenior Studio I Senior Studio IISpecial Topic Special TopicElective ElectiveArt History ElectivePhilosophy Related Arts

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The ceramics tradition of both sculptural and functional forms is as oldas history itself, and the sophistication of civilizations has been judged bythe ceramic artifacts attributed to them. It is not without this extensivehistorical support that students who choose to concentrate in ceramicsembark on a rich journey to make their mark in time.

Through a rigorous investigation of clay, students become familiarwith techniques, forms, and expressions of abstract, conceptual, andtraditional work. With a firm foundation in these processes, studentsexplore handbuilding, molding, throwing, glazing, and firing to worktoward developing their strengths and defining a personal vocabulary andartistic style.

Ceramics

C E R A M I C S C O N C E N T R AT I O N

FALL SEMESTER SPRING SEMESTERCeramics II: Handbuilding Ceramics III: WheelworkingPrintmaking I Clay and Glaze MaterialsFigure Drawing I Sculpture ISurvey of Art History I Survey of Art History IISocial Science English/Literature

FALL SEMESTER SPRING SEMESTERCeramics IV: Intermediate Handbuilding Ceramics V: Intermediate WheelworkingElective Ceramics Special TopicArt History Elective Social Science The Professional Artist Humanities Science

FALL SEMESTER SPRING SEMESTERSenior Studio I Senior Studio IICeramics Special Topic Ceramics Special TopicKilns: Design and Operation ElectiveArt History ElectivePhilosophy Related Arts

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Photographers play an influential role in society as observers andcommentators, image-makers, and artists. At every stage of the program, abroad range of aesthetic and technical information strengthens student control of the medium and builds confidence and self-reliance.

At the Institute, students begin with an exploration of the uniquevocabulary of photography and work toward personal means of communicating their visions as professional photographers.

The Photography program encourages exploration of visual directionwhile teaching the skills of photographic seeing, production, andpresentation. The curriculum nurtures a personal capacity for distinctivevisual expression and a broad understanding of the role photographyplays in contemporary culture.

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Photography

P H O T O G R A P H Y C O N C E N T R AT I O N

FALL SEMESTER SPRING SEMESTERPhotography II Photo III: The Handmade PhotoDigital Imaging I Controlled Lighting Printmaking I Graphic Design ISurvey of Art History I Survey of Art History IISocial Science English/Literature

FALL SEMESTER SPRING SEMESTERPhoto IV: Introduction to Color Photo V: Advanced ColorAdvanced Digital Imaging The View CameraHistory of Photography Elective Humanities The Professional Artist Social Science Science

FALL SEMESTER SPRING SEMESTERSenior Studio I Senior Studio IIPhoto Special Topic Photo Special TopicElective ElectiveArt History ElectivePhilosophy Related Arts

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The Interdisciplinary Arts course ofstudy provides an opportunity for students to engage in a range of introductory,intermediate, and advanced courses fromtwo studio concentrations. By embracing the choice and synthesis of two distinctdisciplines, students gain competencies that can be applied separately or combinedin a multimedia genre. In order to facilitateachievement of a strong, visually thematicbody of work, students seeking to pursueInterdisciplinary Arts are required to meet criteria for acceptance by the end of their sophomore year. Further, allInterdisciplinary students must takeresponsibility to adhere to the specificcourse and material parameters established by the area of concentration.

Interdisciplinary Arts

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Students interested in Interdisciplinary Arts need to communicatethis intent clearly to the relevant department chairpersons and advisor.Full confirmation of acceptance to pursue Interdisciplinary Arts is notmade until the conclusion of the sophomore year. The followingrequirements and criteria need to be met for confirmation:

� Declaration of an initial single program of study at the end offreshman year.

� A written application during the second semester of sophomore yeardefining the student’s interdisciplinary goals.

� A cumulative GPA of 3.0 or above.

� A portfolio review and interview with the applicable programchairpersons with written supportive recommendation.

� The initial area of concentration chosen at the end of the freshmanyear remains as one of the two areas of interdisciplinary art activity.

Given the individualized design of Interdisciplinary Art study, theselection and sequence of specific course work will be defined and moni -tored by the relevant program chairpersons, faculty members, and advisor.

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Art EducationThe New Hampshire Institute of Art is proud to offer a specialized Art

Educator Preparation Program that is approved by New Hampshire’sBureau of Credentialing. The program allows Institute students the option ofearning their K–12 art educator certification that has reciprocity with moststates across the country.

The Art Educator Preparation Program is based upon the philosophythat practicing artists make better educators and that the Art EducationProgram should complement our BFA program rather than replace it. Thebreadth of artistic skill and knowledge expected of K–12 art educators isenormous given all the possible art forms, art historical references, andmaterial safety practices. The program requires candidates to completeeducation coursework in concert with their studio and liberal artsrequirements during their first four years. The use of a competency-basedassessment system in our studio classes and fieldwork placements fostersart educators that are more confident, versatile, and competent working in avariety of media at all grade levels.

Art Educator candidates at the Institute require a fifth year ofcoursework and culminating fieldwork in elementary and secondaryschools. Candidates are required to complete 110 hours of early fieldwork inpublic schools and 20 hours of art-related service in the community prior totheir fifth year. These experiences not only allow candidates practicalexperiences in the field, but also allow candidates the opportunity toexperience the power of building and sustaining an art education programby actively contributing to the community. This unique program hasdesigned several after-school art education opportunities for candidates toservice school-aged children in Manchester both on and off campus. TheBoard of Trustees, administration, faculty, and staff remain committed toproviding exceptional fine arts educational programs to the wholecommunity. The ability to provide exceptional Art Educator candidates is anextension of this commitment.

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A R T E D U C AT I O N P R O G R A M R E Q U I R E M E N T S *

FALL SPRINGMath Ceramics I*English Composition I English Composition IIFoundations Drawing I 3D DesignColor Theory Foundations Drawing II2D Design Painting I*

FALL SPRINGSurvey of Art History I Survey of Art History IIFoundations in Psychology English/LiteraturePrintmaking* Foundations Art EducationStudio Concentration Studio ConcentrationStudio Concentration Studio Concentration

FALL SPRINGStudio Concentration HumanitiesStudio Special Topic The Professional ArtistArt History Studio ConcentrationStudio Concentration Studio ConcentrationExceptional Learner Digital Imaging*

FALL SPRINGSenior Studio I Senior Studio IIElementary Methods Photo I*Modern/Contemporary Art History Secondary MethodsPhilosophy Related ArtsStudio Special Topic Science

FALL SPRINGElementary Student Teaching Secondary Student Teaching & & Active Pedagogy (12 credits) Active Pedagogy (12 credits)K–12 Curriculum & Assessment

* Art Education candidates must complete at least 3 credits of studio studies in all disciplines outsidetheir concentration. Visit www.nhia.edu for Art Education curricula in each concentration.** Candidates with a 3.3 GPA or higher may apply for one semester of culminating fieldwork.

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Teaching ReciprocityThe state of New Hampshire participates in a reciprocal agreement with the

NASDTEC Interstate Certification Contract, which facilitates the movement ofeducators among the states and other jurisdictions that have signed the contract.

N E W H A M P S H I R E

Alabama Alaska American Samoa ArizonaArkansas British Columbia California ColoradoConnecticut Delaware DODEA* District of ColumbiaFlorida Georgia Guam HawaiiIdaho Illinois Indiana IowaKansas Kentucky Louisiana MaineMaryland Massachusetts Michigan MinnesotaMississippi Missouri Montana NebraskaNevada New Hampshire New Jersey New MexicoNew York North Carolina North Dakota OhioOklahoma Ontario Oregon PennsylvaniaPuerto Rico Rhode Island South Carolina South DakotaTennessee Texas Utah VermontVirginia Washington West Virginia WisconsinWyoming

*DEPARTMENT OF DEFENSE EDUCATION ACTIVITY (DODEA)

*For more information, visit the NASDTEC Interstate Agreement website at www.nasdtec.org

R E C I P R O C AT I N G S TAT E S :

A R T E D U C AT I O N C U R R I C U L U M

The table on this page describes a typical schedule for studentscompleting the certification program alongside their BFA. Applicants thatintend to apply to the Institute are advised to indicate their interest inearning teacher certification on their application. Accepted studentsformally enroll in the program at freshmen orientation. In order tomaintain candidacy in the Art Educator Preparation Program, studentsmust go through annual faculty evaluations, maintain a minimum 2.7CGPA, successfully complete all early fieldwork, and earn passing scoreson the Praxis I™ exam. Candidates are reviewed annually to ensurequality educators are placed into the employment pool upon completionof the program.

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Within the context of a community of visual artists, creative writingminors at New Hampshire Institute of Art are afforded the opportunity toexplore and to command various forms and functions of language. Not onlywill students who choose to minor in creative writing at the Institutebecome more confident and effective writers, they will also become betterartists, discovering new and multiple ways of seeing and evaluating theirworlds and their work. Ultimately, writers at the Institute are artists engagedin an intertextual pursuit that complements not only the technical but alsothe conceptual objectives of both the studio and the liberal arts classrooms.

The Creative Writing minor requires 18 credits of composition,literature, and creative writing courses. Students pursuing the minor mustmaintain a GPA of 2.7 with higher attainment in English and writing.Students will be required to submit a final creative writing “Capstone” andto maintain a portfolio of writings from their English classes.

T H E A N N O I N T I N GTo live before zeroWhen the ibex throws his horns like tar into the sunYou will only find that when it rains,

the buildings collapse into tears,revealing their true burdens

As the prism’s coppery edges direct the men with vacantsigns for faces,

homes dispelling fog like boats, these howlingsirens, children

tracing trenchesGod, you are such a mute! so uselessly beautifullike how luminous the phantoms will be when this blacknessrevolves no more

Carand Burnet, 2010Carand Burnet’s The Annointing first appeared in Blackout

Creative Writing Minor

C R E AT I V E W R I T I N G S A M P L E P R O G R A M O F S T U D Y *indicates Creative Writing minor requirements

FALL SPRINGFoundations Drawing I Foundations Drawing II2D Design or 3D Design 2D Design or 3D DesignColor Theory or Materials and Processes Color Theory or Materials and ProcessesMath Introductory Studio Class*English Composition I *English Composition II

FALL SPRINGStudio Concentration Studio Concentration Studio Concentration Studio Concentration Printmaking I Studio Concentration Survey of Art History I Survey of Art History IISocial Science *English/Literature

FALL SPRINGStudio Concentration Studio Concentration Studio Concentration Studio Concentration Humanities Art HistorySocial Science Science*Creative Writing Elective The Professional Artist

FALL SPRINGSenior Studio I Senior Studio IIStudio Concentration Studio Concentration *Creative Writing Elective ElectiveArt History Related ArtsPhilosophy *Creative Writing Elective

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Students within the Painting discipline at New Hampshire Institute ofArt are offered the opportunity to undertake a minor in Printmaking. ThePrintmaking minor balances formal and intellectual concerns with aninterdisciplinary, mixed media approach. Students attain the technologicalknowledge and expertise of traditional printmaking methods, includingIntaglio, Lithography, Relief, and Silkscreen, and also become proficient inmore contemporary photographic and digital methods. They attainconfidence in the history of the discipline and use this knowledge to engagein contemporary critical thinking and problem solving. Students are able tocritically pursue a mixed media world of information and decide forthemselves how to relate this knowledge to the world through print.

The Printmaking Minor requires 18 credits of studio and Art Historycourses. Students pursuing the minor must maintain a cumulative GPA of2.5, with higher attainment in Printmaking.

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Printmaking Minor

S A M P L E P R O G R A M O F S T U D Y F O R PA I N T I N G C O N C E N T R AT I O N W I T H P R I N T M A K I N G M I N O R

FALL SPRINGPainting II Painting III: The FigureFigure Drawing I Figure Drawing IIPrintmaking I Printmaking IISurvey of Art History I Survey of Art History IISocial Science English Literature

FALL SPRINGPainting IV Painting VDigital Imaging Printmaking IIArt History 300 Level Waterbased MediaPrintmaking II The Professional ArtistSocial Science Science

FALL SPRINGSenior Studio I Senior Studio IIDrawing Special Topic Painting Special TopicHumanities Printmaking IIIHistory of Prints SculpturePhilosophy Related Arts

See Chairperson of Illustration, Photography, and Ceramics for Printmaking Minor Concentration forms.

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MissionThe mission of the New Hampshire Institute of Art is threefold: to provide a

traditional bachelor of fine arts degree program emphasizing the integration of creative,aesthetic, technical, and critical skills in artistic expression; to offer a continuing educationprogram that serves the community in the visual arts; and to provide an ongoing series ofpublic exhibitions and lectures that support the educational programs.

Goals and ObjectivesG O A L : To offer students five possible programs of fine art study: a Studio Concentration in Ceramics, Illustration, Painting, Photography, or Interdisciplinary Studies as well as the opportunity to gain professional K–12 certification in Art Education

� To facilitate a comprehensive concentration in an artistic medium and to help students develop a professional body of work informed by personal vision

� To facilitate the opportunity for students to experience and complete the challenges of a professional engagement in art education

� To offer public lectures that reflect the interests of our concentrations

G O A L : To provide students with a firm foundation in two- and three-dimensional art concepts, practices, and techniques

� To require that every student complete two semesters of drawing addressingfundamental issues of observation: proportion, perspective, and chiaroscuro

� To require curriculum addressing vocabularies of two- and three-dimensional designand the principles of color theory, in which students learn and apply abstractelements and principles of design to compositional projects

� To encourage students to experience a range of two- and three-dimensionalmaterials and processes

� To conduct portfolio reviews of students’ work in these foundations at the end of the first year

G O A L : To provide writing instruction that offers students opportunities for reflection, analysis, academic research, self-assessment, and creative expression

� To require introductory writing courses that introduce students to elements of visual literacy and analysis

Policies & Resources

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� To promote recursive writing practices

� To introduce methods of student self assessment that empower writing process and product

� To assist students in developing their professional voices in writing in order to communicate their artistic visions to different audiences

� To administer an Academic Support Center that assists, mentors, and measures students’ abilities to express themselves effectively in writing

� To offer a minor in creative writing that supports and develops student interest and growth in writing

G O A L : To provide students with an historical background in artists, cultures, and movements

� To require introductory courses in art history through a year-long survey in Western traditions

� To require two additional, advanced courses in art history

� To provide curriculum that gives students contemporary and historical contexts fortheir work, within which they are able to conduct personal research relevant to theirartistic work and vision

G O A L : To encourage constructive, creative exchange and collaboration between fine arts and liberal arts

� To introduce, foster, and facilitate the critique process in liberal and studio arts from foundations through senior level coursework

� To teach students critical thinking, reflection, and dialogue in liberal and studio arts and their creative application across the curriculum

� To require established science and math courses that resonate with art ideas and practices

� To require presentations that unite liberal and studio art pursuits in the Professional Artist course

G O A L : To prepare students with real-world opportunities to present themselves and their work professionally as well as the opportunity to gain professional K–12 certification in the Art Educator Preparation Program

� To require coursework and senior presentation opportunities that support the development of student portfolios and require each senior to produce aculminating, thematic body of work

� To offer opportunities for meaningful professional experience through internships at galleries and cultural institutions, apprenticeships with working artists, and community service in area schools

� To offer students formal and informal mentoring through the Visiting Artist and Art Education programs

� To offer contact and networking in the art world through guest exhibitions andlectures, Institute gallery openings, and a series of readings, talks, anddemonstrations by working artists, writers, and art educators

� To provide support, guidance, and encouragement to those students interested inpursuing graduate-level study in fine arts

G O A L : To provide thorough and ongoing assessments of student development and progress in the BFA program and the Art Educator Preparation Program

� To develop a comprehensive portfolio program that manifests a visual and written archive of student progress

� To require standard competencies in writing and research that are evaluated bycommon criteria

� To provide pre- and post-tests in art history

� To conduct annual, comprehensive, multi-faculty portfolio reviews of all students and provide written evaluation of the reviews

� To require an external professional review of and written report of the annual student exhibition

G O A L : To provide students with a foundation in library information literacy

� To provide an information literacy program that addresses standard researchassignments in Composition I and II as well as Art History I

� To foster students’ abilities to determine the depth and scope of information needed to achieve personal goals

� To teach students to effectively access, critically evaluate, and successfully use information in a variety of formats

� To foster the understanding of the legal and ethical use of information

G O A L : To serve a broad community of traditional and non-traditionalstudents with meaningful continuing education opportunities

� To provide adults and high school students with a diverse range of classes,intensives, and workshops taught by working artists and professional faculty

� To assist learners 15 years or older in exploring a wide variety of interests, personal vision, and creativity, and in developing a portfolio

� To provide a Certificate program that offers concentrated studio experience andpotential BFA matriculation

� To offer a Pre-College Summer Workshop for high school students that rigorouslychallenges them to explore art-making materials and techniques in a college-levelenvironment with their peers

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Art in the CommunityThe New Hampshire Institute of Art was established as the Manchester Institute

of Arts and Sciences in 1898. From the Institute’s outset, it has had a firm commitmentto educating diverse traditional and non-traditional students in the fine arts. As an artcollege accredited by the National Association of Schools of Art and Design (NASAD),the Institute offers the bachelor of fine arts degree. Dedicated faculty promoteintellectual and artistic engagement and through the development of service learningopportunities to foster an artistic response to contemporary social and civilengagement.

The New Hampshire Institute of Art supports excellence in teaching and recruitspracticing artists, working writers, and liberal arts faculty who are highly qualified, skillfuleducators and community members. They provide curriculum that balances the teachingof technical skills with the development of critical, intellectual, and creative abilities.

Artistic & Educational ResourcesT E T I L I B R A R Y

The Institute’s Teti Library, located on the main level of Fuller Hall, is a valuedteaching partner, providing both traditional paper and contemporary electronicresources to students and faculty. Library professional staff members are available toassist students and faculty with their research and information literacy needs. Accessto the growing collection of art books, periodicals, and databases is available onlinewithin the library and remotely from any Internet connection. The visual resourcescollection includes a slide collection, digital image databases, photograph studycollection, VHS/DVD collection, and a viewing station. The Institute also hasarticulation agreements with colleges in the region, and is a member of the GMILCSconsortium of three academic and nine public libraries. These agreements allowstudents and faculty access to other library collections.

The Teti Library Special Collections room contains rare and fragile materials onphotography, drawing, painting, and illustration. A recent donation by John Teti of 2,00019th century–21st century photographic books and periodicals has considerablyenhanced the collection with important, rare books, many of which contain originalphotographs (albumen prints, gravures). Students, faculty, and researchers will findartist books, photography books, signed and limited editions, and periodicals on art, aswell as the Institute Archives and a small modern photographic print collection. SpecialCollections are closed stacks and non-circulating. Students, faculty, and researchers maymake appointments by contacting the library circulation desk at 603-836-2532 orref@nhia.edu.

I N S T I T U T E S T U D I O SAll New Hampshire Institute of Art students are welcome to work in available

studios and labs outside of class time. Appropriate departmental requirements as well asany security arrangements must be adhered to, according to the studio policies in theStudent Handbook. (See the Student Handbook for more details.)

S E N I O R S T U D I O SInstitute BFA seniors have the opportunity and privilege to work in a designated

studio space during their senior year of study.

A C A D E M I C S U P P O R T C E N T E RThe Academic Support Center (ASC) is a resource for all NHIA students who wish

to seek support in finding academic success. At the ASC a student can meet one-on-onewith a professional or with a peer tutor to work on the writing process, exam preparation,study skills, time management or organizational habits. Students can receive help in allsubject areas, from English to Mathematics, and even in the written elements of theirstudio classes. The ASC seeks to empower students by combining supplementalinstruction with a collaborative approach that encourages students to understandthemselves as learners. This approach relies on a student’s strengths and uses them tocreate avenues for articulation and comprehension.

A D V I S I N GAdvising at the Institute is multifaceted, with appointed advisors central to its

structure. Operating in close consultation with Department Chairpersons and faculty, theadvisors can respond effectively to individual student’s educational needs and requests.

All students are able to avail themselves of the support and guidance from theadvisors. Advisors assist, formulate, and implement academic policy; they monitor studentprogress and assist with course selections, schedule changes, attendance, independentstudies, withdrawals, transcript evaluations, and students’ challenges with individualcourses and faculty members.

The advisor is a vital catalyst in the communication with a student’s DepartmentChairperson in the evolution and resolution of academic coursework and professionalguidance. The combined interactions and engagement of the advisor with the departmentfaculty and leadership is a continuum of evaluation and recommendation that maximizesa student’s attainment of specific educational and professional goals.

A S S E S S M E N TThe Institute is committed to upholding high standards of learning. Accordingly, the

Institute has implemented a comprehensive assessment program. The assessment initiativesrequire student participation in pre- and post-tests, standard writing assignments,comprehensive portfolios (visual archive), annual student reviews, visual literacy, and anexternal examiner’s report. The assessment program is a particularly vital mechanism thatenables the Institute to examine its effectiveness and use results for improvement in theachievement of its stated goals and objectives. An external examiner is invited annually toprovide an evaluation and written report of the BFA program.

Student Affairs Throughout the academic year, the Office of Student Affairs works to provide an

array of services that complement and support the educational, co-curricular, andextracurricular experience of each student. The Student Council works closely with the

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Director of Student Affairs to initiate social events such as concerts, trips to New York andBoston, as well as student exhibitions, internships, and community service opportunities.

The Office of Student Affairs administers and oversees the confidential healthrecords of all students. These records are kept securely and are not accessible to any otherparty without the express permission of the student. The counselor assists in schedulingappointments for counseling services on campus and with a satellite facility withinwalking distance of the campus. A complete list of services and agencies is available tofully meet all health concerns.

S T U D Y / T R AV E L O P P O R T U N I T I E SThe Institute is committed to providing and developing the opportunity for students

to study abroad. The Institute has provided opportunities through accredited colleges tostudy abroad and has successfully run programs to Florence and Verona, Italy.

I N T E R N S H I P S Institute departments are developing and evaluating internship opportunities for all

areas of concentration. Students must meet the appropriate academic criteria to be able toparticipate and fulfill any specific departmental parameters. Internships are only availableto students with a junior or senior ranking. Transfer students may intern after meeting therequirements and completing one full semester at the Institute. Formal applications forinternships are made through the student’s area of concentration and can only beapproved by the Department Chairperson and the Office of Academic Affairs.

S C H O O L S T O R EThe Camera Shop and Art Supply Store is located at the Amherst Street building.

Students, faculty, and the general public benefit from this valuable resource in providingthe materials and supplies required for studio and academic classes.

Gallery ResourcesThe Institute’s galleries in the French Building, Fuller Hall, and Amherst Street

feature works by regionally and nationally established, as well as emerging, artists. TheCommunity Gallery in Fuller Hall highlights works by students and professional artists.The student-run “Vault Gallery”offers additional opportunities for students to exhibitwork. Exhibitions feature evening receptions for the artists as well as noon-time artisttalks and presentations, which are open to BFA students and the public.

A R T I S T L E C T U R E SVisiting exhibiting artists meet with students and other gallery visitors throughout the

year. Through the work of the Gallery Committee and Department Chairpersons, theInstitute has established a lecture series highlighting the work of local, regional, and nationalartists and lectures.

S T U D E N T / C O M M E N C E M E N T E X H I B I T I O NIn the rigorous process of the annual BFA student reviews, Department

Chairpersons and the faculty jury select work for this exhibition. The senior students arethe primary focus of the annual student exhibition. All seniors participate by displaying athematic body of work from their final year of studies.

Institute PoliciesThe New Hampshire Institute of Art has governing institutional and academic

policies in full adherence to its accreditation mandate and standards. Outlined below arethe dominant governing policies. Subject to change without notice. These policies andothers are also published and detailed in other Institute documents such asthe Institute website and Student and Faculty Handbooks.

N O N D I S C R I M I N AT I O N P O L I C YThe New Hampshire Institute of Art is a private, not-for-profit, educational

institution that maintains a policy of equal opportunity for all. It does not discriminate onthe basis of race, color, religion, national origin, sex, sexual orientation, age, veteran’sstatus, or disability in admission or access to educational programs, financial aid, oremployment.

P R I VA C Y P O L I C YThe right to privacy as provided by the Family Educational Rights and Privacy Act

(FERPA) requires that the New Hampshire Institute of Art refrain from disclosing astudent’s personally identifiable information contained in the student’s education recordsto a public or private person or agency without prior written permission from the student.Exceptions that permit disclosure without consent are: school officials employed by theInstitute with legitimate educational interests in an administrative, supervisory, academic,research, or support staff position; officials of another school, upon written request, inwhich a student seeks or intends to enroll (including student exchange programs); aperson or company with whom the Institute has contracted such as an attorney, auditor,collection agent, insurance agent, or official of the National Student Loan ClearingHouse; financial aid institutions to determine eligibility, amount of aid, conditions of aid,and to enforce terms and conditions of aid; standardized testing institutions; a personserving on the Board of Trustees; a student serving on an official committee such as adisciplinary or grievance committee, or assisting another school official in performing hisor her tasks; by court order or certain types of subpoenas; in court proceedings with thestudent; appropriate parties in a health or safety emergency; state and local educationalauthorities in connection with certain state or federally supported programs; VeteransAdministration officials; the Comptroller General of the United States; the Secretary ofthe U.S. Department of Education; the U.S. Attorney General (Law Enforcement only)and accrediting organizations to carry out their functions.

Schools may disclose, without consent,“directory” type information such as astudent’s name, campus address, campus telephone number and campus email address,photographs, relationship to an alumnus or alumna of the Institute, participation inofficially recognized extracurricular activities and sports, concentration of study, and

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degree sought or completed, full or part time enrollment status and classification(freshman, sophomore, junior, senior, graduate), date of graduation, degrees, honors andawards received, expected date of completion of degree, requirements and graduation,most recent previous education agency, institution, college or school attended, grade level,and dates of attendance. This information, however, will not be disclosed if the studentcompletes a Request to Prevent Disclosure of Directory Information Form stating that it not bedisclosed. (See the Student Handbook for more details.) In practice, the Institute does notindiscriminately release information about individual students.

L I A B I L I T Y The New Hampshire Institute of Art assumes no responsibility for the loss or

damage of student property. While the Institute exercises care with regard to the safetyof students working in studios (see Health and Safety) and other areas of the campus,it cannot be responsible for injuries that may occur.

S T U D E N T S W I T H S P E C I A L N E E D S It is the policy of the New Hampshire Institute of Art to make every effort to

accommodate the needs of students with documented disabilities. Students who wish toreceive accommodations must complete a Special-Needs Assessment Form and providedocumentation of the disability to the Office of Student Affairs.

S T U D E N T D I S M I S S A LThe Institute reserves the right to dismiss any student at any time for unsatisfactory

work or improper behavior. Improper and unacceptable behavior is defined but notlimited to actions by an individual detrimental to the student, other students, faculty orstaff, or damage to the property of the Institute. (See Student Handbook for student codeof conduct and process and procedures on disciplinary actions and redress.)

P H O T O G R A P H Y A N D V I D E O U S EThe Institute reserves the right to use photography or videotapes of Institute

students in class or on campus for the promotion of the Institute and its programs. Anystudent who does not wish to be photographed or videotaped must notify the Institute inwriting upon registration. (See Student Handbook for guidelines on photography andstudio use.)

U S E O F S T U D E N T W O R KThe New Hampshire Institute of Art reserves the right to retain or reproduce student

work for the purposes of instruction, exhibition, advertising, and promotion of theInstitute.

S M O K E - F R E E C A M P U SThe Institute does not allow smoking in any building. Information on smoking

cessation programs is available to interested students. (See Student Handbook forguidelines on smoking issues.)

H E A LT H A N D S A F E T YThe New Hampshire Institute of Art considers the health and safety of students and

staff to be of the highest priority. The highest possible and practical standards are soughtand reinforced in the implementation of the educational mission of the Institute. Healthand safety guidelines and directives are consistently promoted and reviewed. Allinstructional faculty are required to adhere to and address the specific and pertinentissues on health and safety as they relate to the subject materials, processes, andenvironments of their classes. Accordingly, all class syllabi contain a health safety handoutsheet pertinent to the materials specific to courses. All Institute students receive a copy ofthe Student Handbook that contains guidelines on health and safety at the Institute.

The Institute has established a senior-level management committee that addresses,reviews, and evaluates planning for emergencies and for the implementation of anynecessary policies, tools, technologies, and equipment as well as the coordination andcontrol of communications, both internal and external.

Academic Policies and Requirements S T U D E N T H A N D B O O K

The Student Handbook is a published New Hampshire Institute of Art documentdesigned to detail the policies, procedures, and standards required of all students engagedin the pursuit of their BFA degrees. The handbook is designed to advise and assist allstudents toward academic and personal well-being as they actively pursue their life andcareer goals at the Institute. It is the student’s responsibility to read and gain aworking familiarity with handbook contents. Students should reference theStudent Handbook for comprehensive details and information on all Institutepolicies. All BFA students are fully subject and required to adhere to allpolicies contained in the handbook.

C R E D I T H O U R S / C L A S S I F I C AT I O NBFA students enroll in 3-credit studio and lecture courses. Class standing is

determined by the number of credits earned by a student toward a degree.Freshman . . . . . . . . . . . . . . . . . . . . . . 1 – 29 creditsSophomore. . . . . . . . . . . . . . . . . . . . . 30 – 59 creditsJunior . . . . . . . . . . . . . . . . . . . . . . . . . . 60 – 89 creditsSenior . . . . . . . . . . . . . . . . . . . . . . . . . 90 and above credits

F U L L - T I M E C R E D I T L O A DA full-time credit load is 12–18 credits per semester. A 15-credit load per semester

is required to complete the program within 4 years. Students taking more than 15credits are required to maintain a GPA of 3.0 and have approval of their DepartmentChairperson and Academic Dean. This form must be returned to the Registrar’s office.

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C O U R S E R E Q U I R E M E N T S A N D P R E R E Q U I S I T E SAll courses that are required for satisfactory completion of the BFA program are

listed in the COURSE OFFERINGS section of this catalog. Students must complete allFoundations course requirements before they may register for intermediate and advancedstudio courses. The semester course schedule indicates specific course prerequisites.

S AT I S FA C T O R Y A C A D E M I C P R O G R E S SStudents are expected to make satisfactory academic progress toward a degree in

order to receive financial aid and must maintain a minimum CUM GPA of 2.0 andminimum course completion rate. (See Student Handbook for comprehensive details.)

G R A D U AT I O N R E Q U I R E M E N T SStudents must complete 120 credits and meet all stated requirements of the BFA

degree. A minimum cumulative grade point average (GPA) of at least 2.0 must beatttained. Students may participate (walk) in the commencement ceremony if they haveno more than six outstanding credits, but must complete the required course beforereceiving the actual diploma.

All obligations to New Hampshire Institute of Art, such as library fines, tuition, andfees, must be met. No diploma or transcript will be released to a student or formerstudent whose financial obligations to the Institute have not been met.

H O N O R S Honors accorded to graduating students with exceptional work and the highest

GPAs in one or more departments are:Honors (cum laude) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.20–3.49High honors (magna cum laude) . . . . . . . . . . . . . . . . . . . . 3.50–3.69Highest honors (summa cum laude) . . . . . . . . . . . . . . . . . 3.70–4.00

D E A N ’ S L I S TDuring the fall and spring semester, students may be named to the Dean’s List of

the Institute by successfully completing a semester minimum of twelve credits andattaining a minimum semester GPA of 3.7.

AT T E N D A N C E P O L I C YNew Hampshire Institute of Art subscribes to the belief that an assumption of

responsibility is at the center of learning and accomplishment. Each student is expected toarrange a class schedule that minimizes conflicts with other commitments. This includespersonal obligations and work schedules. Therefore, the responsibility of attendancebelongs to the student.

Attendance is required in all courses. Being absent and/or late for class may impact astudent’s grade, and in the case of excessive absences, may result in failure or thewithdrawal of the student from the course. Students are responsible for all missed workassignments. The instructors’ policies on attendance and making up work are included intheir syllabi.

Documented absences resulting from legitimate circumstances, such as personalillness or death in the immediate family, should not negatively impact a student’s grade oracademic standing. Not withstanding the previous statement, once a student has missedenough classes that the instructor believes that the student cannot meet the goals of thecourse within the remaining time frame, the student may be given a failing grade or bewithdrawn from the class. In all instances, however, excused absence does not meanexcused from meeting course standards and expectations. Should a dispute occur, anappeal process must be followed with the Department Chairperson and Academic Affairs.

M I D T E R M / S E M E S T E R G R A D E S / E VA L U AT I O NStudent evaluation is an on-going process that includes individual and group

critiques, specific graded assignments, and class/studio participation. Mid-semester gradesand brief reports are provided to facilitate an opportunity for an informal discussion withinstructors and advisors on a student’s progress. A final semester grade is officiallyrecorded and averaged into a student’s GPA.

A C A D E M I C P R O G R E S S R E P O R T SAt mid-semester, students will receive an academic progress report from the faculty

members. This form will indicate areas of concern as well as suggestions forimprovement. Copies of this form will be shared with the student’s advisor and AcademicAffairs.

G R A D I N G S Y S T E M

The grade point system assigns a numerical value to each letter grade.A (4.0) Outstanding C (2.0) AverageA- (3.7) C- (1.7)B+ (3.3) D+ (1.3)B (3.0) Above Average D (1.0) Below AverageB- (2.7) F (0.0) FailureC+ (2.3)

The Student Handbook comprehensively details the full range of assigned evaluative letter grades, definitions, and consequences. These include incomplete(IC), official withdrawal (W), withdrawal/pass (WP), withdrawal/failure (WF),administrative fail (AF), administrative withdrawal (AW).

Course Failure A failing grade (F) from a required course imposes a requirement for a student toretake the course and gain a passing grade. The new grade will be calculated intothe GPA. While the “F” grade will no longer calculate into the GPA, it will show ona student’s transcript.

GPAThe grade point average (GPA) is calculated on a 4.0 scale. The semester’s totalcredits are divided by the numerical value of each letter grade, providing the GPAfor that semester. The cumulative GPA is based on all credits and the totalnumerical value earned by the student to date at the Institute. Repeating a course isallowed if a student receives a “D” or below. The new grade will replace the gradefor the course and be counted in the cumulative GPA.

D U E P R O C E S S G R A D E A P P E A LStudents seeking to challenge or change a given grade can submit an appeal to the

Academic Dean in writing. The Student Handbook contains details on the appealsprocess.

A C A D E M I C P R O B AT I O N A N D S U S P E N S I O NA student receiving a semester GPA below 2.0 will be placed on academic probation

with recommendations to seek help with their studies through the Academic SupportCenter. A student recording a semester GPA below 2.0 for two consecutive semesters willbe placed on probation and REQUIRED to meet regularly with the Academic SupportCenter. Students will only be allowed to take 4 courses for that semester. After a thirdsemester of receiving a semester GPA below 2.0, a student will be suspended. A studentreceiving a CUM GPA below 1.0 may be suspended immediately.

L E AV E O F A B S E N C E Only a student in good academic standing may take a leave of absence for up to two

semesters (one academic year) without reapplying. The Leave of Absence form must becompleted and signed by appropriate departments and returned to the Registrar. (See theStudent Handbook on extensions to leaves.)

R E A D M I S S I O NStudents who have been suspended or who have not been granted an official leave

of absence covering a period of more than two consecutive semesters (one academic year)must follow the Institute readmission policy.

For readmission, students must reapply through the Admissions Office. They mustsubmit portfolios of work, including work completed at the Institute and any workcompleted during their absence from the Institute. They may be required to have aninterview with a committee of faculty from the departments to which they are applying.The Department Chairpersons are responsible for communicating the specific activitiesrequired of students suspended because of unsatisfactory department reviews.

W I T H D R AWA L F R O M T H E I N S T I T U T EStudents may withdraw from the Institute by obtaining a withdrawal form from the

Registrar’s Office and by obtaining all the necessary signatures. Merely ceasing to attendclasses does not constitute an official withdrawal academically or financially. Failure tosubmit a withdrawal form to the Registrar may result in the automatic recording of “AF”grades for all courses being taken by the student. The official date of withdrawal forFinancial Aid purposes is the last date of class attendance as verified by the instructor. If astudent never attended classes, then the classes will be removed from the student’selectronic record. New Hampshire Institute of Art ID cards and parking permits must bereturned to the Registrar’s office when withdrawing from the Institute. Students whowithdraw from the Institute completely after the eighth week of the semester (mid-semester) will receive either a “WP” or “WF” grade from each of their instructors.

C L A S S C A N C E L L AT I O N P O L I C YThe Institute firmly believes that our primary mission is to serve our students. Our

course cancellation policy tries to serve the interests of our students, while also balancingthe interests of our faculty who commit their valuable time to teaching and preparing forour courses.

In the weeks leading up to the start of a semester, the Institute DepartmentChairpersons work closely with Academic Affairs to determine what classes might notreach minimum enrollment. Departments and faculty are notified if a given class appearsthat it may not be held due to low enrollment. If enrollment for that class does notincrease the week before classes begin, the Institute is obliged to cancel the class andnotify the students so they may select another course.

R E G I S T R AT I O N P R O C E S SDuring the fall and spring semesters, online registration is offered to all students.

Course offerings and procedures are published on the Web site and are also availablethrough student accounts.

Prior to registering, students must meet with their advisor to review and selectclasses within their program. The advisor will approve these classes and a student willregister on the appropriate registration day designated by the grade level of the student.

All outstanding Institute debt must be paid before a student is permitted to registerfor the ensuing semester.

B U R S A R A N D PAY M E N TTo assist students with their educational expenses, the Institute offers financial aid

and a monthly payment plan through Tuition Management Systems. Students shouldmeet with the Financial Aid office as early as possible to discuss options available tothem.

Students are responsible for tuition, fees, and related institutional costs. It is expectedthat all charges, less any pending financial aid reported by the Financial Aid office, mustbe paid in advance of the beginning of each semester or before the designated due dateprovided on the Student Statement. Additional charges assessed or adjustments to thestudent’s account must be paid within thirty days. Student accounts remaining unpaidafter the statement due date will be assessed a $100 late fee. All debt to the Institute mustbe paid before a student is permitted to register for the upcoming semester, to receivegrades for courses taken, receive transcripts, or receive a diploma.

The Bursar’s office is located in the French Building, 148 Concord Street. Cash,check, and credit card payments are accepted Monday – Friday, 8:30 a.m. – 5:00 p.m.Payments may be mailed to NH Institute of Art, Bursar’s Office, 148 Concord St.,Manchester, NH 03104.

Questions regarding charges and payments should be directed to the Bursar at 603-836-2523.

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T U I T I O N M A N A G E M E N T S Y S T E M SThe Institute has partnered with Tuition Management Systems to provide a payment

plan that assist students and parents in managing educational expenses. Their interest-free, monthly payment option allows students and parents to spread their educationalexpenses over smaller monthly installments. There is a small fee to enroll.

A 10-month payment plan (July through April) and a 9-month payment plan(August through April) are available to cover fall and spring semesters. The summersemester must be paid separately. For information about the payment plan, visitwww.nhia.edu or www.afford.com/nhia or call 1-800-356-8329.

A D D / D R O P P E R I O DWhile it is expected that a student will follow the schedule of courses he or she

selected with an advisor during the registration period, the student may add or dropclass(es) during the Add/Drop period. The Add/Drop period begins with registration andends one week after the start of classes. Dropped classes will be removed from thestudent’s electronic file, do not appear on the student’s grade report at the end of thesemester, are not reported on the permanent transcript, and are not factored into thestudent’s GPA. Non-attendance in class does not constitute a drop. Dropping or addingclasses or changing sections is not permitted after the Add/Drop period.

W I T H D R AWA L F R O M C L A S SStudents may withdraw from courses at any time during the first eight weeks of the

semester with the course grade of “W.” Withdrawn classes are not factored into thestudent’s GPA. Merely ceasing to attend class(es) does not constitute an officialwithdrawal either academically or financially. No withdrawals will be accepted after the10th week. (See Student Handbook for more information.)

Students who miss the first two sessions of a class may be dropped by thatinstructor without prior notice and the class will be removed from the student’selectronic record.

The date of withdrawal for Financial Aid purposes is the last date of class attendanceas verified by the instructor. If no documentation of attendance exists, the student will beconsidered to have never attended and the class will be removed from the student’selectronic record.

Students who cease attending classes without having officially withdrawn willreceive the grade of “F” in the course or courses and they will remain responsible for allfinancial obligations associated with the course or courses. No course may be withdrawnafter the 10th week of class.

Withdrawals after the tenth week (mid-semester) will be allowed only when:� Withdrawal is student-initiated for conditions beyond the student’s control (e.g.,

illness documented by a physician’s letter). The course grade assigned under theseconditions will be “WP” or “WF.” Documentation must be provided by the studentand approved by the student’s advisor.

� Withdrawal is instructor-initiated due to unusual circumstances, not as a method toprevent low grades. The course grade under these circumstances will be “WP”(withdraw passing) or “WF” (withdraw failing). The student’s advisor will be notified.In all cases, the date of withdrawal is the last date of class attendance as verified bythe instructor. Withdrawal disputes must be submitted in writing by the studentwithin 30 days after the end of the semester during which the student withdrew.

W I T H D R AWA L S A N D R E F U N D SIf a student withdraws from a course or from the Institute, tuition and other

refundable fees* will be adjusted according to the following schedule:

Reversal of Charges – Fall & Spring terms Reversal of Charges %

If dropped or withdrawn by the ADD/DROP deadline . . . . . . . . . . . . . . . . . . . . . . . . . 100%If withdrawn prior to 1 week after ADD/DROP deadline . . . . . . . . . . . . . . . . . . . . . . . . 80%If withdrawn prior to 2 weeks after the ADD/DROP deadline. . . . . . . . . . . . . . . . . . . . 50%If withdrawn prior to 3 weeks after the ADD/DROP deadline. . . . . . . . . . . . . . . . . . . . 25%There are no refunds given 3 weeks after the ADD/DROP deadline.

Reversal of Charges – Summer term Reversal of Charges %

If dropped or withdrawn by the ADD/DROP deadline . . . . . . . . . . . . . . . . . . . . . . . . . 100%There are no refunds given after the ADD/DROP deadline.

*Registration Fee, Student Activity Fee, and Technology Fee are non-refundable.

E F F E C T I V E D AT E SStudents are required to complete the appropriate form(s) to withdraw from the

Institute or a course, or to request a Leave of Absence. The effective date used foradjusting Institutional charges is the date the Registrar receives the completed and signedform. If a student has received financial aid, the Financial Aid office will determine if anyfederal funds must be returned according to the Title IV federal guidelines. The effectivedate used for adjusting financial aid is the last date of class attendance as verified by theinstructor.

F I N A N C I A L R E S P O N S I B I L I T I E SNo degree, transcript, enrollment verification, or grade report will be issued to any

student whose financial accounts are not settled with the Institute as determined solelyby the Bursar’s Office.

E N R O L L M E N T V E R I F I C AT I O N The Registrar’s Office can verify enrollment for any student enrolled in the BFA

program. All enrollment verification requests must be in writing and include thestudent’s name, former name if any, dates to be verified, and the student’s signature.

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FA L L 2 0 1 0

Sunday, August 29 ...................................................Move In Day

Monday, August 30..................................................New BFA Student Orientation

Tuesday, August 31 ..................................................First Day of BFA Classes

Monday, September 6 .............................................Labor Day – Institute closed

Wednesday, September 8........................................Add/drop period ends

Thursday, September 9 ...........................................Rosh Hashanah

Saturday, September 18 ..........................................Yom Kippur

Wednesday, September 29 .....................................Last Day of Sukkot

Monday, October 11................................................Columbus Day – Administrative Offices closed –classes held as scheduled

Week of October 18 – 22 ........................................Mid-semester

Friday, October 22....................................................Last day to withdraw from a class

Weeks of Nov. 1 and 8 ............................................Course advising period

Tuesday, November 2 ..............................................Election Day

Thursday, November 11..........................................Veterans Day – Institute closed

Monday, November 15 ...........................................Registration Begins

Thu. – Sat., Nov. 25 – 27 .........................................Thanksgiving Holiday – Institute closed

Thursday, December 2 ...........................................First Day of Chanukah

Thursday, December 9 ...........................................Last Day of Chanukah

Friday, December 10................................................Fall Classes end

Saturday, December 11 ...........................................Dormitories Close

Sat. Dec. 11 – Sun. Jan. 9 ........................................Student Winter Break

Wednesday, December 15 ......................................Final Grades due

Friday Dec. 24 – Sun. Jan. 2....................................Winter Break – Institute closed

Friday, February 4.....................................................Fall 2010 Incompletes due

S P R I N G 2 0 1 1

Monday, January 3...................................................Administrative Offices re-open

Sunday, January 9 ....................................................Dormitories re-open

Monday, January 10.................................................BFA Classes begin

Monday, January 17.................................................Martin Luther King Jr. Day – Institute closed

A C A D E M I C C A L E N D A R 2 0 1 0 – 2 0 1 1

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Tuesday, January 18..................................................Add/drop period ends

Friday, February 4.....................................................Fall 2010 Incompletes due

Monday, February 21...............................................Presidents Day – Administrative Offices closed –classes held as scheduled

Week of Feb. 28 – Mar. 4.........................................Mid-semester

Friday, March 4.........................................................Last day to withdraw from a class

Week of March 7 – 11 .............................................Spring Break – no BFA classes

Weeks of March 14 & 21 ........................................Course advising period

Monday, March 28...................................................Registration Begins

Tuesday, April 19 ......................................................First Day of Passover

Sunday, April 24.......................................................Easter Sunday – Institute closed

Tuesday, April 26 ......................................................Last Day of Passover

Friday, April 29 .........................................................Spring Classes endCE Graduation

Week of May 2 – 6 ...................................................BFA Student Reviews

Wednesday, May 3...................................................Final grades due

Saturday, May 7........................................................Dormitories Close

Sunday, May 22........................................................Commencement and Opening of the Annual Student Exhibition

Sun. May, 22 – Sat. Jul. 23.......................................Annual Student Exhibition

Monday, May 30 .....................................................Memorial Day, Institute closed

Friday, September 23...............................................Spring 2011 Incompletes due

S U M M E R 2 0 1 1

Monday, May 23 .....................................................Classes Begin

1 week after start of class........................................Add/drop period ends

Sun. July 3 and Mon. July 4 ....................................Independence Day – Institute closed

Saturday, July 23.......................................................Classes end

Wednesday, July 27 ..................................................Final grades due

Friday, September 23...............................................Summer 2011 Incompletes due

A C A D E M I C C A L E N D A R 2 0 1 0 – 2 0 1 1

Dates are subject to change.

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FOUNDATIONS FND101 Foundations Drawing I

This initial course in drawing establishes the commonunderpinnings of drawing as a tool to seeing. The coursewill explore traditional drawing issues, materials, andtechniques as applied to a variety of contexts, including stilllife and landscape. Emphasis is given to observationalinvestigations including proportion, perspective, andmodeling volume with light and shadow. The course willengage the conscious development of the specifics of visuallanguage. The methodology of perceiving, conceiving, andexpressing in terms of form, line, shape, value, texture, andspace will be investigated through a familiarization withtraditional drawing issues and materials. Students willengage the basic elements of drawing, and learn to betterinterpret, communicate, and express visual thinking.

FND102 Foundations Drawing II (prereq: FND101)

Foundations Drawing II is a continuation of skillslearned in Foundations Drawing I. This course is anexploration of the practical application of drawing as a toolto art making as it applies to the formal elements in art. Itwill build upon the concepts started in Drawing I andexamine in more detail the concepts of value, space,gesture, perspective, portraiture, and abstract forms as theyrelate to drawing. Students will engage in more advancedelements of drawing techniques with more considerationgiven to finished drawing.

FND103 2D DesignThis course focuses on visual thinking as it relates to

two-dimensional elements and principles of design, line,shape, value, texture, and color—the underlying structureand foundation of the visual arts. A wide range ofassignments introduces important concepts critical to thedevelopment of the student’s knowledge and skills in theBFA program.

FND104 3D DesignThis course uses the same vocabulary and grammar of

design that was introduced in FND103, and applies it tothree-dimensional problems, engaging 3D’s uniquematerials, processes, and creative issues.

FND105 Color TheoryStudents will develop an understanding of the

relativity of color observed in the direct application toassignments. Complementing the direct experience ofcolor’s physical properties, students will investigate varioustheoretical systems and the analysis of major colortheorists, and the psychological and cultural dimensions ofcolor.

FND106 Materials and ProcessesThis course is designed as an introduction to a variety

of two- and three-dimensional mediums and studioexperiences. Students will work for 5 weeks each in threeareas selected from Ceramics, Photography, Printmaking,and/or Digital skills.

CERAMICSCER101 Ceramics I

In this introduction to ceramics, students will not onlylearn the basic techniques of handbuilding and wheel work,but will also begin to develop a design vocabulary that willinform all their work. Formal, historical, and conceptualideas along with glazing and firing will be introduced asstudents begin to form a personal aesthetic. Offered fall andspring.

CER202 Ceramics II: Handbuilding (prereq: CER101)

Handbuilding techniques with clay have been used toexpress creative ideas for thousands of years. Through theconstruction techniques of slab building, coiling, pinching,and modeling, students will continue to explore thesetraditions through the use of formal design elements todevelop related forms and appropriate surfaces. Drawing onpersonal experiences as well as thoughtful assignments,creative ideas can become a reality. Offered fall semester.

CER203 Ceramics III: Wheelworking (prereq: CER101)

Students will expand their building techniques,learning to control clay on the potters’ wheel from basic tocomplex forms. Students will begin to assert individualexpression by broadening their familiarity with historical

and contemporary work, further developing their process ofcritique, and using bodies of work to develop and maturetheir content and design. Students have the option to worksculpturally or through vessel-based forms. Offered springsemester.

CER207 Clay and Glaze Materials (prereq: CER202 or CER203)

Understanding the geological formation of clays andthe basic chemistry behind glaze formation will givestudents the foundation to go confidently into independentexploration of their materials. Basic math skills will be usedto determine empirical formulas in clay and glaze materials.The focus on these materials will help the students tie thescience of ceramics to the art of creating with clay. Offeredspring semester.

CER304 Ceramics IV: Intermediate Handbuilding (prereq: CER202)

A continuation of CER202, students will explore basichandbuilding techniques and work traditionally orsculpturally, tackling issues of scale and proportion whilecontinuing to explore the elements of design. Students willdevelop bodies of work that personalize the process,yielding more refined and thoughtful work.

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CER305 Ceramics V: Intermediate Wheelwork (prereq: CER203)

Strengthening throwing techniques while addressingissues of style and artistic development, students will usethe skills they developed in CER203 to further develop theirpersonal styles. Working either sculpturally or traditionally,thrown work will be the primary focus of a body of workdeveloped throughout the semester.

CER402 Kiln Design and Operation (prereq: CER202 and CER203)

This course will cover the design, construction, andoperation of fuel burning and electric kilns. The hands-oncomponent of this class requires some weekend attendanceto rebuild one of the studio’s fuel burning kilns. Explorationof the use of appropriate material along with health andsafety issues will be included toward accomplishing artisticand studio goals.

DRAWINGDRA201 Figure Drawing I (prereq: FND102)

A focused, introductory study of the human figure. Anunderstanding of the anatomy and its impact on surfaceform will be explored in a variety of drawing mediums. Thecourse will emphasize observational, anatomical accuracyand a rigorous use and awareness of line and tonalqualities.

DRA202 Figure Drawing II (prereq: DRA201) This course builds on the concepts and skills covered

in DRA201. Students will negotiate the challenge ofcontinued anatomical accuracy while introducing moreexpressive approaches with respect to mark making, color,scale, and series.

ILLUSTRATIONILL111 Illustration: Introduction (prereq: FND101)

This course is the gateway prerequisite requirementfor all students interested in, or who have already chosen,Illustration as their concentration.“What is illustration?,”“How is illustration made?,” and “How does a workingillustrator gather reference to make an illustration?” are allquestions that are answered in this thought-provokingintroductory class. Craft, scale, content, materials, anddeadlines, as well as the use of both oil and water-basedmedia and materials, will be emphasized.

ILL212 Illustration: Traditional Media (prereq: ILL111)

This course reiterates and reinforces professionalpractices learned in ILL111. Students will be encouraged tofocus on concept, the visual narrative, and style inrelationship to the printed page. Craft and referencegathering will be discussed to learn how workingillustrators make and print their images. A diverse range oftraditional materials will be explored for commercialprojects.

ILL213 Illustration: Avenues (prereq: ILL212)

This course focuses on various avenues within thefield of illustration, including editorial, children’s book,advertising, and institutional. Familiarization with a varietyof markets will enable students to personalize and directtheir focus toward chosen interests. Select assignmentsfrom concept to creation to application will help preparestudents for the marketplace.

ILL310 Digital Illustration (prereq: ILL111)

This course is an introduction to Digital Illustration asa means of dynamic communication. Students will beintroduced through demonstration and hands-on computerwork to the basics of Illustrator® and Adobe Photoshop®.Students will learn how to operate fundamental digitalequipment, practice scanning and printing their work, andbegin to draw “in” the computer. Conceptualization, digitalcolor theory, and the adaptation of traditional illustrationprinciples will prepare the student to create a series ofprinted projects.

ILL314 Illustration: Series (prereq: ILL213)

In preparation for the self-directed senior thesis,students will create a singular original body of work readyfor portfolio use and publication. Students will be requiredto complete a series of interrelated images using livemodels, landscapes, concepts, and ideas. Technically,

students will be asked to create this series of figurativepaintings exhibiting the highest level of work ethic andcraftsmanship. Materials, scale, storytelling, and narrativewill be emphasized. The successful student will leave with apersonal body of work ready for the commercialmarketplace

ILL315 Advanced Digital Illustration (prereq: ILL204, ILL310, or PHO205)

Narrative, sequential thought, and text-drivenassignments provide the conceptual basis for students’visual problem solving. Technical instruction centers onexploring software, specifically Adobe Photoshop®,Illustrator®, and In Design® and advanced hardware tools todevelop and build upon existing skill sets. In preparation fortheir senior year, successful students will leave this classwith bound portfolio books and a series of printed digitalassignments that explore personal styles and that aremarketplace ready.

ILL333 Painting III: The Figure (prereq: PTG202 or ILL203 and DRA202 or DRA302)

This course engages students to apply paintingprinciples to the representation of the human figure. Anappreciation of the expressive potential of the human formunderscores course lessons in portraiture and incompositions grappling with primary challenges renderingfigure/ground.

PAINTINGPTG101 Painting I (prereq: FND102)

This is the first in a sequence of painting courses. Assuch, it focuses on a rigorous, demonstrated review ofobservational fundamentals. Vital basic painting techniques,materials, and processes will be introduced, as will theacquisition of knowledge and critical awareness within thediscipline of painting.

PTG202 Painting II (prereq: PTG101)Expanding on the formal introduction in PTG101,

students will further refine technical and critical skills.Projects will negotiate challenges with a view towardincreasing two-dimensional complexity and advancingtechnique and concept.

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PTG203 Painting III: The Figure (prereq: PTG202 and DRA202 or DRA302)

This course engages students to apply paintingprinciples to the representation of the human figure. Anappreciation of the expressive potential of the human formunderscores course lessons in portraiture and incompositions grappling with primary challenges renderingfigure/ground.

PTG303 Painting: Waterbased Media (prereq: PTG101 and DRA202 or DRA302)

This course presents the materials and techniques ofwater-based media. As such, students will gain technicalskill in the manipulation of transparent and opaqueprocesses; they will also aquire knowledge of the expressivepotential of the medium, as demonstrated throughhistorical and contemporary methods and works.

PTG304 Painting IV: The Landscape (prereq: PTG202)

Analysis of space and organization of composition arejust some of the challenges of the landscape painter. Thiscourse builds on the student’s previously acquired paintingskills in order to explore the visual culture of landscapetraditions in both historical and contemporary contexts.On- and off-site assignments are intended to reflectstudent knowledge of practical demonstrations andillustrated lectures.

PTG305 Painting V (prereq: PTG203 and PTG304)

This is an advanced painting course that anticipatesindependent responsibility within a synthesis of technicaland conceptual challenges. A serious review of a student’sabilities, engagement, and passion will be examined andintegrated in the pursuit of highly authoritative personalexpression.

PTG314 Painting: Digital Fine Art I(prereq: PTG101, PTG202, PTG203, ILL 203,ILL310, PHO205)

This course builds on design and painting conceptswhile teaching the student to use digital media as a way toimplement those concepts. Students will gain anunderstanding of the context of computer imaging as itrelates to contemporary art practice. Through readings,lectures, discussions, critiques, writing, and art making wewill explore what makes the computer and digital mediaunique in the expression of artistic ideas. While this is astudio course in which we will learn software andtechniques (such as copying/pasting, image adjustments,

filters palettes and layers) there will also be a strong focuson the content of the digital art works created in class. (Eachstudent will need to purchase a Wiacom tablet.)

PTG315 Painting: Digital Fine Art II (prereq: PTG314)

Digital Fine Art II develops on the skills and conceptsof digital media as used in Abstraction, Composite Imaging,and Realism taught in Digital Fine Art I. Critiques, lectures,presentations, and further technical skill development willallow students to fully understand and incorporate thehistorical and contemporary relevance of abstraction,collage, and digital realism. Serious examination andanalysis of students’ intellectual, visual, and digital skillsand concepts will be examined and will allow them tointegrate an authoritative contemporary voice withtraditional methods.

PHOTOGRAPHYPHO101 Photography I

Students are introduced to the black and whitedarkroom through film processing and printmaking. A firmfoundation in basic darkroom techniques is formed as astarting point for further work. Some basic photographysubjects such as film types, lenses and filters, and principlesof proper exposure are also covered.

PHO202 Photography II (prereq: PHO101)

This course builds on the black and whitephotography skills and techniques developed and exploredin PHO101.

PHO203 Photography III: The Handmade Photograph (prereq: PHO101 and PHO202)

This course explores the history and practice of 19th-century photographic printing techniques, including thecyanotype, callotype, and the palladium print. Students willspend the first class making images with a 4x5 viewcamera. The remaining classes will be devoted to masteringthe craft aspects of creating hand-coated prints using light-sensitive chemistry and a variety of fine art papers.

PHO204 Controlled Lighting (prereq: PHO202)

This introductory course explores the use of anelectronic studio flash system for effective lighting of aportrait or still-life, art object, or interior. Through hands-on

demonstrations, students will learn how to createprofessional-caliber color and black and white photographs.Basic lighting techniques will be covered, including lightingratios, soft versus hard lighting, bounce lighting, and Kelvintemp. Students will shoot assignments with a digital SLRcamera for critique and evaluation.

PHO205 Digital Imaging I This course introduces students to the use of

computers, scanners, digital cameras, and photographicquality inkjet printers in order to create high-quality colorand black and white images. Students will learn how toscan negatives, transparencies, and prints to producehigh-resolution files and then manipulate these files inAdobe Photoshop® before output to the printer.Calibration of equipment will also be covered along withthe use of ICC profiles for proper color rendition on avariety of fine art paper surfaces. No previous computerexperience is required.

PHO206 Photojournalism (prereq: PHO202 and PHO205)

Learn the essentials of creating and editingphotographs and picture stories for newspaper andmagazine publications. Work with digital cameras tocomplete a variety of assignments covering happenings,sports, and breaking news. Equipment selection and usewill be discussed in detail as well as the ethical issuesfacing contemporary photojournalists. The final project inthis course will be the creation, editing, and layout of afeature story.

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PHO302 Advanced Digital Imaging II (prereq: PHO205)

This course builds on skills acquired in PHO205covering advanced techniques for color, contrast, andsaturation control, as well as greater control in the printingof monochrome images using archival quality inkjettechnology. Adjustment layers, advanced selectiontechniques, channels, and the use of type are presented aswell as enlarged digital negatives for handmade contactprinting. Photoshop controls open the possibility to gobeyond the traditional darkroom to enhance the detail in anegative or alter the color palette of a digital image. Digitalcamera controls including the use of the histogram forprecise exposure control and file format choices arediscussed along with the advantages of using the cameraRAW file format. Color management, monitor calibration,and the choice of file formats are covered.

PHO303 The View Camera (prereq: PHO202)This is an introductory class in using the 4x5 view

camera for portrait, landscape, and architecturalphotography. The course will explore camera movements tocontrol perspective and depth of field through swings,shifts, and tilts, as well as other camera adjustments.Equipment selection including lenses, filmholders, andmeters used in view camera work will be covered alongwith filtration, film handling, and archival print processing.The Zone System for determining contrast control will aidthe student in creating the most expressive and successfulprints. Critiques and lectures will guide students throughtechnical and aesthetic issues as they complete a portfolioof 15 matted black and white prints.

PHO304 Photography IV: Introduction to Color(prereq: PHO202 and PHO205)

A firm foundation of basic color photographytechniques is formed as a starting point for further work.Students will use either film or digital cameras to produce acolor portfolio.

PHO305 Photography V: Advanced Color Photography(prereq: PHO205 and PHO304)

An advanced exploration of color photographybuilding on the knowledge of how the use of color andpaper choices will impact the final image.

PHO307 Landscape Photography (prereq: PHO202)

The first landscape photograph in America was madein 1840 by Samuel Bemis in the White Mountains of New

Hampshire. This course explores the historical, aesthetic,and technical aspects of the black and white landscapephotograph through lectures, field trips, and darkroomdemonstrations. Students will create a portfolio oflandscape images utilizing advanced photographictechniques. Important figures in the medium includingCarleton Watkins, Edward Weston, Ansel Adams, andRobert Adams will be presented and discussed.

PHO403 Advanced Handmade Photography(prereq: PHO203 and PHO205)

This course will build on skills developed in therequired class Photo III: The Handmade Photo. In PhotoIII, students are introduced to the 19th-centuryhandmade process of cyanotypes, Vandyke, albumen, andpalladium. This advanced class will concentrate on onehandmade process. Students will both improve their skillsfrom this foundation and explore in more depth a varietyof techniques associated with handmade process to createtheir images. Using digital negatives, students willexperiment with a variety of papers and/or fabrics, toners,chemical formulas, and less-used techniques unique inthe process. Students will be expected to create aportfolio of images, keep a process journal, and conductresearch about the process and its practitioners. Thiscourse will also help students further understand therecent resurgence of historical photographic processes asa contemporary art form.

STUDIO ELECTIVESGRA201 Graphic Design

This course will present the fundamentals of graphicdesign. In this course, students will learn how to integratetype and image to visually convey a message. A variety oftechnical skills, typography, and picture plane problemsolving will be explored and discussed in a wide range ofassignments.

JJWL111 Jewelry/Metalsmithing 101This course covers both jewelry making and metal

smithing techniques. The basics of working in copper, silver,and bronze such as soldering, sawing, polishing, stonesetting, forming, and light forging will be covered. Majoremphasis will be placed on technical and 3D design skills,including keeping a sketchbook for assignments to enhancedesign concepts. Projects will include small jewelry piecessuch as rings and brooches, as well as projects such as teastrainers and forged spoons. No prerequisite.

JWL112 Small Metals – Techniques in Metal(prereq: JWL111 or JWL102)

This metals class will introduce the student to twometalworking techniques – wax carving and casting and foldforming. In the first half of the semester students, willexplore the properties of carving wax while creating formand texture in rings and other forms of jewelry. Students willinvest their own waxes and cast their own pieces in sterlingsilver. Polishing will be reviewed for a finished piece ofjewelry. In the second half of the semester, students willcontinue learning about three-dimensional form. Foldforming is a technique of folding, rolling, and hammeringmetal inro organic shapes. Students discover the way metalresponds and stretches with hammering, creating beautifulnatural forms.

PRT201 Printmaking I (prereq: FND102)This course will introduce several disciplines of

printmaking: relief, screen-printing, and intaglio, as well asrelated techniques such as monoprint and embossing. Notethat this course is required for Painting concentration students.

PRT203 Relief (prereq: PRT201)This course covers traditional and non-traditional

methods of relief printmaking. Multiblock color printing andreduction block printing will be introduced. Emphasis will begiven to the unique graphic aesthetic of the linoblock/wood -block. Two-dimensional formal and conceptual issues alongwith contemporary and art historical issues will be explored.

PRT204 Silkscreen (prereq: PRT201)This course will survey the hand and photographic

processes of silkscreen (a.k.a. Serigraphy) and will consist ofslide lectures, in and out of class assignments, and a fieldtrip. This class will focus on two-dimensional designprinciples while making intellectual connections with theprintmaking process. Contemporary and art historical issueswill be covered, including formal and conceptual issues.

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PRT205 Intaglio I (prereq: PRT201)This course will be a survey of differing media that

belong to the family of intaglio. The course will coverdrypoint line etching, spray aquatint, soft ground, whiteground, and sugar lift. Two-dimensional formal andconceptual issues, as well as multi-plate color processes,will be addressed.

PRT206 Plate Lithograph (prereq: PRT201)This course is an introduction to the printmaking

process of plate lithography. Various hand drawing andphoto methods will be demonstrated and used to createeditioned prints. Historic and contemporary lithographs willbe discussed throughout the course. Emphasis will be onboth technical and conceptual approaches to thelithographic process.

PRT433 Printmaking III (prereq: Pick three from the Printmaking II classesof: PRT201, PRT203, PRT204, PRT205, PRT206)

This culminating printmaking class offers students theopportunity to develop their unique voice as anartist/printmaker by focusing in depth on the technique oftheir choice. The work is a continuing development of theprocesses and historical references that they explored in theprevious printmaking classes. Students will workindependently under the supervision of a printmakingfaculty member to produce a portfolio of thematicallyrelated work. The goal of this course is to prepare studentsfor post-graduate work and/or studies.

SCU201 Sculpture I (prereq: FND103)An introduction to the development of spatial, tactile,

and formal perceptions in the exploration of three-dimensional form. This course presents additive andsubtractive sculpture techniques. A series of progressiveassignments encourage a practical understanding of visualelements, including composition, proportion, line, form,mass, and plane. Note that this course is required forCeramic and Painting concentration students.

SCU202 Sculpture II (prereq: SCU201)This course is about the design and production of

sculpture. Emphasis will be placed on composition andcontent, three-dimensional visual literacy, sculpting skills,and the developing awareness, both historical and personal,of the nature of great sculpture. Succinct presentationsconcerning historical and contemporary issues in sculpturewill be given.

SCU203 Figure Sculpture (prereq: SCU201)A systematic study of three-dimensional human form

will be undertaken in this course. Students will beintroduced to materials, tools, and techniques that will pushthem toward mastery of exploration and expression. Artmaking in this class will be balanced by the study of therole of the figure in historical and contemporary sculpture.

SPE399 & SPE499 Special Topics (Restricted to Junior/Senior status)

Special Topics classes are offered in all Instituteconcentrations on an occasional basis. These courses offerrelated discipline-specific opportunities that expand on thematerials, media, concepts, and visual vocabulary of theconcentration.

SENIOR STUDIESSEN401 Senior Studio I (Restricted to Seniors)

The Senior Studio serves as a capstone course. It is anindependent, personal pursuit designed to contribute to thecreation of an advanced body of thematic work. The coursewill include directed lectures and critiques to support thecritical awareness necessary for the emerging professionalartist. Each concentration has established specific objectivesbeyond the common core for its respective seniors. Studentsparticipate in mid-term and final group critiques. The coursealso includes visiting artists and professional presentations.

SEN403 Senior Studio II (Restricted to Seniors)The Senior Studio serves as a capstone course. It is an

independent, personal pursuit designed to contribute to thecreation of an advanced body of thematic work. The coursewill include directed lectures and critiques to support thecritical awareness necessary for the emerging professionalartist. Each concentration has established specific objectivesbeyond the common core for its respective seniors. Studentsparticipate in mid-term and final group critiques. The coursealso includes visiting artists and professional presentations.

L I B E R A L A R T S

ART EDUCATIONAED105 Digital Imaging I

This course introduces students to the use ofcomputers, scanners, digital cameras, and photographicquality inkjet printers in order to create high-quality colorand black and white images. Students will learn how toscan negatives, transparencies, and prints to producehigh-resolution files and then manipulate these files inAdobe Photoshop® before output to the printer.Calibration of equipment will also be covered along withthe use of ICC profiles for proper color rendition on avariety of fine art paper surfaces. No previous computerexperience is required.

AED200 Foundations Art EducationVisual arts in public education is examined through

theory and practice in this introductory and multifacetedcourse. What is the role of fine arts in public education?What purpose(s) does it serve? Students will explore thesequestions through the study of educational trends andphilosophies in American history from John Dewey’s Labschools to “No Child Left Behind.” These philosophies andmodels will also be explored through 15 hours of structuredfieldwork in public schools. Students will be introduced tolesson planning and execution, state and nationalstandards, assessment, classroom management, and awritten philosophy of Art Education.

* This course is open to all students. Students wanting toearn certification to teach must formally enroll in the programand maintain candidacy criteria.

AED304 Art & Meaning(prereq: ENG102, AHT202, and HUM300 level)

This course examines philosophical issues that ariseconcerning the creation, interpretation, and viewing of artprimarily, though not exclusively, in the Western arttradition. Topics include: What is art and its purpose? What

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is the “aesthetic,” and who is the best judge of it? Is good artbeautiful? Does art imitate life or does life imitate art? Doesthe meaning of art exist in the mind of the artist or in themind of the beholder? How does new technology affect themeaning and experience of art? These questions, and manymore, will be analyzed. Students will study philosophicalthought, past and present, as a basis for developing theirown philosophies. Students will use this academic study ofphilosophy to finalize and formalize their philosophies ofart education.

AED308 The Exceptional Learner(prereq: ENG102 and SOC200+)

We are all individual learners with individual learningstyles. What were your experiences in school? Did you everfall behind or were you ahead of the curve? Did yourecognize that there were support systems for students atyour school? Would you have qualified for these extrasupports? We will explore these questions and discuss theethical, legal, and educational ramifications of serving acontinuum of learners. This class will investigate tracking,normalization, social learning, hetero- and homogeneousclassrooms, and Individualized Education Plans (IEPs). Wewill look at a variety of curricula for individual learners:learning contracts, gifted and talented programs (AP), andinclusive and social learning situations for autistic, mentallychallenged, and other students with learning disabilities.Students will have a 15 hour on-site assignment workingwith child-specific aides, AAP, TAG, and SPED teachers,and coordinators in a public school system. Students willhave the opportunity to address how the arts and theirteaching strategies will meet the needs of all learners asthey revisit and revise their philosophies from AED100.

AED402 Elementary Methods in the Inclusive Classroom(prereq: AED100 or AED200 and AED308)

This course will provide art education students theopportunity to apply their foundation knowledge ofdevelopmental psychology, learning, and artistic growth toinstructional planning and assessment in heterogeneous artclasses grades K–8. Students will work with experienced,practicing educators to prepare and execute competency-based instructional strategies that can be differentiated tomeet the needs of the individual. Readings, research,discussion, presentations, studio production, and classroomobservations will provide the framework for this importantwork. Art materials, health, and safety regulations will beexamined. Students must complete 40 hours of structuredfieldwork within New Hampshire’s public schools and atafter-school art lessons hosted by the Institute’s ArtEducation Department. Evaluations of these fieldworkplacements are used to determine acceptance to theculminating year.

AED403 Secondary Methods in the Inclusive Classroom(prereq: AED100 or AED200 and AED308)

This course will provide art education students theopportunity to apply their foundation knowledge ofdevelopmental psychology, learning, and artistic growth toinstructional planning and assessment in heterogeneous artclasses in grades 9–12. Students will work with experienced,practicing educators to prepare and execute competency-based instructional strategies that can be differentiated tomeet the needs of individual students. Readings, research,discussion, presentations, studio production, and classroomobservations will provide the framework for this importantwork. Students must complete 40 hours of structured fieldworkwithin New Hampshire’s public schools and at after-schoolart lessons hosted by the Institute’s Art EducationDepartment. Evaluations of these fieldwork placements areused to determine acceptance to the culminating year.

AED503 Culminating Fieldwork: K–8(prereq: minimum 2.7 CGPA, 3.0 CGPA preferred.Completion of program requirements in Art Education andapplication approval by the Art Education Chair) 12 credits

This is one of two culminating field-based experiencesfor Art Education Certification candidates. It is acontinuous, semester-long experience where studentsgradually assume responsibility of a range of visual artclasses in grades K–8, thereby demonstrating theappropriate professional skills and attitudes essential forsuccessful teaching of diverse populations of students.Student teaching is conducted under the supervisoryguidance of school faculty and members of the ArtEducation clinical faculty. The Active Pedagogy seminarcomplements this field work and is required. Students willadd culminating fieldwork and finalize their digital portfolioas part of their final authentic assessment.

AED504 Culminating Fieldwork: 9–12(prereq: minimum 2.7 CGPA, 3.0 CGPA preferred.Completion of program requirements in Art Education andapplication approval by the Art Education Chair) 12 credits

This is one of two culminating field-based experiencesfor Art Education Certification candidates. It is acontinuous, semester-long experience during which, after aperiod of structured observation, students gradually assumeresponsibility for a range of visual art classes in grades 9–12,thereby demonstrating the appropriate professional skillsand attitudes essential for successful teaching of diversepopulations of students. Student teaching is conductedunder the supervisory guidance of school faculty andmembers of the Art Education clinical faculty. The ActivePedagogy seminar complements this field work and isrequired. Students will add culminating fieldwork and

finalize their digital portfolio as part of their final authenticassessment.

AED505 Curriculum Development andAssessment in K–12 Visual Arts (prereq: AED402 and AED403)This course is taken prior to AED506.

Students will learn how their prior knowledge and useof national standards and state frameworks can be used todesign purposeful and sequential curricula and assessmentstrategies for K–12 fine art programs. Students willresearch, study, and design curricular, pedagogical, andassessment strategies to build a K–12 fine art program thatis based upon the student’s philosophy of art education andmeets state frameworks. Students will approach curriculumand assessment using a backward design model. Studentswill write competency-based assessments that meet NHState Frameworks for Art Education using clearly definedproficiencies and skills necessary to achieve eachcompetency. Art Education candidates will add these K–12art program curricular designs & assessments to theirdigital portfolios for their own final authentic assessment.

AED506 Culminating Fieldwork: K–12 (prereq: minimum 3.3 cumulative GPA;completion of program requirements in ArtEducation and application approval by the ArtEducation Chair) 15 credits

This rigorous course combines both elementary andsecondary culminating fieldwork into one semester forqualified candidates. Students must be able to devote allwork-week hours to this endeavor and supplementalemployment is strongly discouraged. Student teachersshould anticipate working in at least two different schoolsand with two different mentor teachers. They must alsokeep in mind that their semester will begin when theirassigned school begins their fall and spring semesters.AED505 is a continuous, semester-long experience wherestudents gradually assume responsibility of a range of visualart classes in grades K–12, thereby demonstrating theappropriate professional skills and attitudes essential forsuccessful teaching of diverse populations of students.Student teaching is conducted under the supervisoryguidance of school mentors and members of the ArtEducation clinical faculty. The Active Pedagogy seminar willmeet once every other week at the Institute. This seminarcomplements field work and is required. Students will addculminating fieldwork and finalize their digital portfolio aspart of their final authentic assessment.

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ART HISTORYAHT201 Survey of Art History I (prereq: ENG102)

As an introduction to art history, this course placesprimary emphasis on Western art, moving from theprehistoric era to the early Renaissance. The course exploresthe chronological evolution of artistic styles in the context ofpolitical, religious, sociological, and economic history.Students will study images that constitute our shared artistictraditions and examine the ongoing dialogue betweenartists. This survey helps students acquire the vocabulary andcritical skills used in art-historical study and in the visualanalysis of works of art.

AHT202 Survey of Art History II (prereq: AHT201)

Continuing the exploration begun in AHT201, thiscourse examines the major developments in Western artfrom the early Renaissance to the 20th century withinhistorical and cultural contexts. The course helps studentsdevelop an understanding of the transformations in thevisual arts and in the social roles played by artists sincethe Renaissance. We will also work to develop anunderstand ing of interdisciplinary approaches andvarious methodologies used in the study of art history.Students will continue to acquire visual literacy, learnterminology, and develop critical skills and research skillsused in art-historical study.

AHT301 Modern Art (prereq: AHT202)

This course surveys major developments in the visualarts from the 1860s through the 1960s, exploring the originsand development of modernism and the foundations forcontemporary artistic practice. We will place works of artand artists’ careers within historical context, analyzing howartists sought to create works relevant to a rapidly changingsociety. Critical issues will be examined in class throughassigned readings, presentations, discussion, art-historicalresearch and writing, and field trips to area museums.

AHT303 American Art (prereq: AHT202)

This course examines major developments inAmerican painting, sculpture, and architecture from theColonial period to the 20th century within an historical andcultural context. Through the study of individual works ofart and artists, students develop a working knowledge andunderstanding of the growth and transformation of artmaking in America from the early search for new art forms

in a growing republic, to the emergence of the UnitedStates as an international art center in the 20th century.Visits to museums and local sites will encourage carefulconsideration of individual works of art.

AHT 305 History of Illustration (prereq: AHT 202)

This course will begin with the “Golden Age ofIllustration” (1880–1920) when the mass market ofnewspapers, magazines, and books was catapulted byimproved printing technologies. Each decade from the“Golden Age” to present, will be examined chronologically;students will gain a clear understanding of the era’sinnovative illustrators, movements, and trends. Guestspeakers, class trips, and assignments will also strengthenstudents’ understanding of visual concepts, aesthetics, anddesign.

AHT307 History of Photography(prereq: AHT202)

This course provides a firm understanding of thehistory of photography with an emphasis on the leadingartists and innovators in the medium. Workingchronologically, the course covers the European inventors ofphotography in the 19th century to contemporaryAmerican, Asian, and European artists. The course explorestechnical and aesthetic developments in the medium aswell as historical movements and genres.

AHT309 Survey of Asian Art(prereq: AHT202)

This course surveys the art and architecture of India,China, Japan, Korea, and Southeast Asia, from prehistorictimes to the nineteenth century. We will examinerepresentative works from major periods, including ritualbronzes, frescoes, Hindu sculpture and temples, Buddhistimages, shrines, ink scrolls, calligraphy, decorative screens,arts of Zen, and ceramics. Social, political, and religiouscontext will be emphasized in additional to analysis of styleand technique.

AHT311 Renaissance and Baroque Art(prereq: AHT202)

This course explores developments in Europeanpainting, sculpture, and architecture from the 14th to the17th centuries within a global context. Students develop aworking knowledge of the purposes and techniquesassociated with art making during this era and identifysome of its major trends such as the portrait, map-making,and the planned city. Assignments are designed toencourage the use of interdisciplinary approaches used inthe study of art history.

AHT312 Neoclassicism, Romanticism, andRealism (prereq: AHT202)

This course concentrates on European art from themid-18th century to the mid-19th century. At the heart ofthe course is the paradoxical relationship of Neoclassicism,Romanticism, and Realism— seemingly oppositionalmovements that were, nevertheless, profoundly echoic.From the aesthetic vision of Napoleon’s empire toDelacroix’s revolutionary vision and Daumier’s politicallyimpassioned prints, students will consider, among otherthings, how closely the art and politics of the age wereintertwined, and to what extent the tools of propagandamay be wielded by the hands of artists.

AHT401 Contemporary Art Since 1945 (prereq: AHT202)

An in-depth exploration of theory and practice in thevisual arts from the aftermath of World War II to thepresent. Issues discussed include the legacy of modernism,the exploration of media and subject matter, and therelationship between art and society. Media covered includepainting, sculpture, photography, printmaking, architecture,and design, along with performance, film and video, andconceptual art. An emphasis will be placed on analysis anddiscussion of artistic theory and critical writings.

AHT402 Pictorialism and Modernism in Photography (prereq: AHT202)

At the turn of the last century, the photographic printwas elevated to the status of fine art through, amongothers, the efforts of photographers including AlfredStieglitz, Edward Steichen, Gertrude Kasebier, and ClarenceWhite who embraced the idea that photographic imageshad the potential to engage the viewers’ emotions. Thecourse then plots photography’s transition away frompictorialist concerns and into the age of modernism,including analyses of major European and Americanphotographers, theorists, and critics. Students in this classwill mine Teti Library Special Collections of rarephotography books and journals that showcase theevolution of photography as a fine art.

AHT403 History of Japanese Ceramics(prereq: AHT202)

With its ancient history and diversity of styles ofproduction and finished wares, Japan has long held apreeminent position in the world of ceramic arts. Studentsin this course will explore the cultural and geo-politicalcontext in which Japanese ceramic art developed andcurrently thrives. Topics will include the impact ofgeography and the proximity of China and Korea, Shinto

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and Buddhist beliefs, the lifestyle of the Samurai class, andthe significance of the Tea Ceremony on the art form. Wewill explore the production of the Six Ancient Kilns, theMingei Movement, and the work of the Living NationalTreasures. We will look at ways that Japanese ceramics hasinfluenced American contemporary artist-potters’ work, andhow American Abstract Expressionism has impactedJapanese ceramists. Finally, we will study contemporarytrends in Japanese ceramic art.

AHT404 Impressionism and Post-Impressionism(prereq: AHT202)

Between 1860 and 1900, painting and sculpture inFrance reflected massive social and political change. TheImpressionists Manet, Monet, and Degas depicted theglittering grands boulevards, cafés, and theaters of thenewly renovated Paris, while revealing class and genderdifferences observed in "lowbrow" lithographic imagery.The Post-Impressionists reacted to this celebration ofmodernity with radical shifts in style and subject matter, asartists like Gauguin, Van Gogh, and Cézanne, motivated bya new vision of the artist's role in society, began to exploretheir own interior sensibilities. The course will also comparethese avant-garde trends with more conservative academicworks.

AHT405 History of Prints(prereq: AHT 201 and PRT201)

This course re-examines the history of art through thematrix of printmaking. It will explore the history of printsfrom the origins of printmaking until today, concentratingon fine art prints but also examining the history ofillustrated books, maps, broadsheets, posters, artists’ books,and multiples. We’ll chart the relationships between

printmaking and other media, including painting andphotography, noting how historical and modern prints havetransmitted images and ideas. We’ll also analyze how artistshave developed and used printmaking media, and howmodern and contemporary artists have continued toexpand the boundaries of printmaking. Viewing andresearching prints from local collections and archives is acentral aspect of History of Prints.

AHT411 Architectural Spaces: Sources and Ideas for Modern Living(prereq: AHT202)

This course reviews the development of modernarchitecture from around 1700 to 1970 in terms of changingattitudes toward cities, nature and land, public and privatespaces, and toward the idea of the “modern.” Students ofthis course will grasp some of the formal qualities ofarchitecture (form, massing, composition), as they gainfamiliarity with concepts concerning the ideal of the single-family home, suburbanization, and modernism in design.

ENGLISH AND LITERATURECRW202 Poetry Writing (prereq: ENG102)

This course will familiarize students with theprocesses and techniques of poetry writing and revising.Students will be required to write one poem each week.Readings of contemporary poetry will demonstrate theimportance of tone, imagery, structure, and sound. Usingexercises and the critical responses of peers in the class,students will revise and strengthen their work and focus onthe development of original voices and consistent styles.Exploratory writing introduces additional strategies formining the imagination.

CRW204 Reading and Writing the Short Story (prereq: ENG102)

Short stories add depth and richness to the Americanliterary scene. They’re fun to read: imaginative, condensed,and muscular. Short stories serve many purposes: satire andparody, raw entertainment, social commentary, soapboxesfor political ideas, declarations of love, and struggles withdespair and confusion. Students will explore their history inAmerican literature and examine their various quirks andconstructions with textual analysis and literary criticism.

CRW209 Personal Narrative: Stories of Ourselves(prereq: ENG102)

Which is more trustworthy: biography orautobiography? Aside from the hard facts of time and placeof birth, how the story of a life takes shape has as much to dowith the author — what she chooses to include or bypass —as it does with the “truth” of the subject’s life. In this course,students will interrogate the authorial presentation of subjectas they learn to examine the complicated relationships ofnarrators and readers. Students will write a series of essaysthat range from short sketches to longer biographies and willdevelop a journal of personal narrative and self-expressionthat will culminate in a 5–7 page autobiography.

CRW210 Creative Non-Fiction (prereq: ENG102)

Creative non-fiction blends the craft techniques foundin great literature (dialogue, narration, voice, suspense, andpoint of view) with the authenticity and ironies found in real-life stories and researched points of view. This genre focuseson compelling writing that is always true, but not necessarilyobjective. Voice and point of view shape and color the writer’ssubject. Students in this class will discover and practicetechniques for writing about themselves, those around them,what they see (particularly in regard to art), and how theyperceive the world around them. They will read and writevigorously, develop skills as collaborative learners, serve as acommunity of writers for each other, and develop bothrespect for and practice in non-fiction writing as an art form.

CRW310 Advanced Poetry Writing(prereq: ENG202 Junior)

In this advanced workshop, students will continue tobuild on the modes of expression and techniques theyacquire in ENG202 with more emphasis on poetry’s formalelements — line, stanza, and meter. Students will undertakereading and writing exercises that will introduce them tosuch traditional conceits as the elegy, ode, and pastoral, aswell as forms such as the sestina, sonnet, and villanelle.Using commentary from each of their workshops, studentswill continue to develop and polish their work with an eyetoward multifaceted voices and styles. Readings of definitivepoetry from the Romantic and Modernist periods willdemonstrate the importance of metaphor and tone, rhymeand musicality, as well as introduce additional strategies formining the imagination.

CRW340 Mystery Writing and the Detective Story (prereq: ENG102)

Students of this course will learn how authors use thenarrative and linguistic conventions of mystery anddetective fiction as an expression of aesthetic, political, and

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cultural values. They will examine the evolution of theseliterary genres from the time of Edgar Allen Poe to today. Byusing literary devices well known to mystery writers, suchas in-depth characterization, suspense, intriguing settings,tone, point of view, and plot, students will learn firsthandhow mysteries are structured and shaped. Students willread stories by master writers, including Edgar Allen Poe,John Steinbeck, Joyce Carol Oates, Willa Cather, DeshiellHammett, Patricia Highsmith, Dennis Lenae, and manyothers. Vigorous writing will be done in and out of class.

ENG101 English Composition IThis course provides a foundation in visual literacy

and teaches writing as a recursive process. In cooperationwith the library’s literacy program and the AcademicSupport Center, Composition 101 offers a cumulative seriesof seeing and writing challenges designed to enhancethinking, writing, and revising skills. Visual analyticexercises, discussions, research assignments, workshops,and conferences guide students of this course toward moreconfident and competent seeing and writing.

ENG102 English Composition II(prereq: ENG101)

This course will sequentially develop and build uponthe fundamentals of research and writing introduced inENG101. Assignments will grow in complexity, as willexpectations in the depth of research and quality of writing.Lectures, discussions, and readings will help studentsnegotiate the challenges of effective personal and academicwritten expression. Critical analysis, self-reflection, and theexploration of various narrative styles and structures willhelp students continue to grow and develop as effectivecommunicators about art and ideas.

ENG202 Poetry Writing (prereq: ENG102)

This course will familiarize students with theprocesses and techniques of poetry writing and revising.Students will be required to write one poem each week.Readings of contemporary poetry will demonstrate theimportance of tone, imagery, structure, and sound. Usingexercises and the critical responses of peers in the class,students will revise and strengthen their work and focus onthe development of original voices and consistent styles.Exploratory writing introduces additional strategies formining the imagination.

ENG204 Reading and Writing the Short Story (prereq: ENG102)

Short stories add depth and richness to the Americanliterary scene. They’re fun to read: imaginative, condensed,and muscular. Short stories serve many purposes: satire andparody, raw entertainment, social commentary, soapboxesfor political ideas, declarations of love, and struggles withdespair and confusion. Students will explore their history inAmerican literature and examine their various quirks andconstructions with textual analysis and literary criticism.

ENG206 American Literature: Crucible of Race(prereq: ENG102)

In this class, students will become familiar with classicand contemporary texts from our literary heritage as theydevelop a dialogue about black/white racial conflict inAmerica. Interrogating the scourge of slavery, examiningrepresentations of blackness and whiteness in the texts, andsituating our inquiry within the bounds of historical events andmovements will aid our purpose. Readings will include worksby Jacobs, Douglass, Melville, Twain, Toomer, Ellison, Wright,and Morrison. Spike Lee’s Bamboozled and images frompopular culture will provide visual touchpoints for our study.

ENG207 The Modernist Text (prereq: ENG102)

This course examines major works and movements ofthe Modernist Period (1915–35), focusing on innovationsthat established the work as revolutionary. Students willalso explore other areas ventured into by Modernist artists:performance, music, art, and cinema, and will respondcreatively to texts and works, using them as models tocreate analytical essays and manifestos. Students will alsolook critically at the effects the Modernists have had uponculture, then and now.

ENG208 Shakespeare in Pictures and Print (prereq: ENG102)

The works of Shakespeare, both canonical andcontroversial, familiar and elusive, have weathered thevicissitudes of individual and collective interpretation over

time and across cultures. Just so, as interesting as the worksof Shakespeare are to us, equally interesting are ourinterpretive responses to them. Students in this course willseek the voice and face of the bard through text and print.Film versions of several plays as well as fine art and mediaportrayals will complement readings of Othello, Hamlet, andRomeo and Juliet.

ENG209 Personal Narrative: Stories of Ourselves(prereq: ENG102)

Which is more trustworthy: biography orautobiography? Aside from the hard facts of time and placeof birth, how the story of a life takes shape has as much to dowith the author — what she chooses to include or bypass —as it does with the “truth” of the subject’s life. In this course,students will interrogate the authorial presentation of subjectas they learn to examine the complicated relationships ofnarrators and readers. Students will write a series of essaysthat range from short sketches to longer biographies and willdevelop a journal of personal narrative and self-expressionthat will culminate in a 5–7 page autobiography.

ENG210 Creative Non-Fiction (prereq: ENG102)

Creative non-fiction blends the craft techniques foundin great literature (dialogue, narration, voice, suspense, andpoint of view) with the authenticity and ironies found inreal-life stories and researched points of view. This genrefocuses on compelling writing that is always true, but notnecessarily objective. Voice and point of view shape andcolor the writer’s subject. Students in this class will discoverand practice techniques for writing about themselves, thosearound them, what they see (particularly in regard to art),and how they perceive the world around them. They willread and write vigorously, develop skills as collaborativelearners, serve as a community of writers for each other,and develop both respect for and practice in non-fictionwriting as an art form.

ENG310 Advanced Poetry Writing(prereq: ENG202 Junior)

In this advanced workshop, students will continue tobuild on the modes of expression and techniques theyacquire in ENG202 with more emphasis on poetry’s formalelements — line, stanza, and meter. Students will undertakereading and writing exercises that will introduce them tosuch traditional conceits as the elegy, ode, and pastoral, aswell as forms such as the sestina, sonnet, and villanelle.Using commentary from each of their workshops, studentswill continue to develop and polish their work with an eyetoward multifaceted voices and styles. Readings of definitivepoetry from the Romantic and Modernist periods willdemonstrate the importance of metaphor and tone, rhymeand musicality, as well as introduce additional strategies formining the imagination.

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ENG340 Mystery Writing and the Detective Story(prereq: ENG102)

Students of this course will learn how authors use thenarrative and linguistic conventions of mystery anddetective fiction as an expression of aesthetic, political, andcultural values. They will examine the evolution of theseliterary genres from the time of Edgar Allen Poe to today. Byusing literary devices well known to mystery writers, suchas in-depth characterization, suspense, intriguing settings,tone, point of view, and plot, students will learn firsthandhow mysteries are structured and shaped. Students willread stories by master writers, including Edgar Allen Poe,John Steinbeck, Joyce Carol Oates, Willa Cather, DeshiellHammett, Patricia Highsmith, Dennis Lenae, and manyothers. Vigorous writing will be done in and out of class.

HUMANITIESHUM307 African-American Experience in Film (prereq: ENG102)

African American film and its makers chronicle arich and complicated history of self-expression, creativity,and complex power dynamics that exist in our society.This course explores the concept of “otherness,” examinesracism in its myriad personal and institutional forms, andseeks to share and illuminate historical perspectives ofthe Civil Rights Movement and other progressive socialchange movements. A combination of “blaxploitation,”fine art films, and documentaries will provide the visualtexts for inquiry.

HUM311 Religions of the World (prereq: ENG102)

This course reviews the emergence of various beliefsystems — their differences and their similarities — andhelps to explore the role of religious belief during humanhistory, including its impact on the arts. To broaden anddeepen understanding of the faiths of the world’s religions,speakers representing the various religions are invited tothe class and there will be several short field trips. Specialemphasis is given to the major religions: Hinduism,Buddhism, Judaism, Christianity, and Islam. The course alsoseeks to provide a forum for honest exchange about themeaning of religion in people’s lives.

HUM312 Under Their Spell: An Exploration of the Influence of Fairy Tales(prereq: ENG102)

Eugene O’Neill said,“Obsessed by a fairy tale, wespend our lives searching for a magic door and a lostkingdom of peace.” How many themes, archetypes,symbols, and imagery in our daily lives can be traced backto fairy tales? In this course, we will study the evolving

history of fairy tales, beginning with the story of Amor andPsyche in Apuleius’ The Golden Ass. We will consider severalkey stories and their variants, including Cinderella, Beautyand the Beast, Little Red Riding Hood, Hansel and Gretel,Rapunzel, and Bluebeard, focusing in each case on thecultural and social contexts that helped shape them.Considering early versions of these tales by GiambattistaBasile, the Brothers Grimm, and Charles Perrault, as well asfeminist revisions by Angela Carter, Anne Sexton, and A.S.Byatt, students will begin to recognize their own dreamsand disenchantments within a rich trajectory of responsesto the magic doors that fairy tales have long held open.

HUM313 American History (prereq: ENG102)

This course presents an overview of early AmericanHistory, beginning with an exploration of Native Americancultures and proceeding through exploration andcolonization, Puritanism, the Great Awakening, theAmerican Revolution, the Jacksonian era and westwardexpansion, and the Civil War and Reconstruction. Cultural,social, literary, and political history will integrate to give aholistic view of the development of the United States. Thecourse will challenge students to consider not only how thespecifics of American history fall into place, but also howthey combine to give a coherent picture of our past.

HUM314 American Material Culture (prereq: ENG102)

This course examines the identification, classification,and interpretation of the artifacts of pre-industrial andindustrial America. Handcrafted and mass-producedmaterials of both domestic and foreign manufacture will beconsidered. The class focuses on the material culture of theAmerican Atlantic coast, from the first European settlementuntil the present day, and its interpretation byarchaeologists, historians, and museum professionals.Students will explore topics that include the evolution ofAmerican dress, architecture, mortuary art, and foodways,as they develop an appreciation of how material culture canbe used to understand the past.

HUM315 Historical Archaeology (prereq: ENG102)

Historical archaeology is the study of thearchaeological remains of literate cultures throughout theworld. Historical archeologists turn to a variety ofdisciplines, including history, anthropology, geography,ecology, and biology, as they explore the historic peoples ofthe last 3,000 years. Students of this course explore theorigins of historical archaeology in North America—itsmethods and techniques and the contribution the field hasmade to our understanding of the settlement of thecontinent since the 11th century. The course will include

hands-on activities using authentic artifacts anddocuments, a visit to Strawbery Banke’s archeologicallaboratory, and films detailing excavations at sites such asJamestown, Red Bay, Labrador, and the plantation South.

HUM317 Origins: Creation Tales of the World(prereq: ENG102)

In this course, we ask questions and look for patterns.We ask: Why am I here? How did I get here? What is themeaning and value of my life? Why do we die? Why isthere evil? To answer these questions, we read as manyorigin myths or creation stories as we can. We start withNative American creation stories and then move on aroundthe globe from the most recent, Christian and European, tothe earliest recorded. In the middle of the course, we readStephen Hawking and discuss the current scientific creationtheories and explanation of a biogenesis. Throughout,discussion will focus on the recognition of patterns,parallels, and structures.

HUM318 Politics in Action(prereq: ENG102)

This course explores the development and function ofthe American political system as it emphasizes theimportance of an informed and active citizenry. Studentswill develop habits of civic reflection as they completeassignments that explore historical documents; pieces ofliterature; politically charged television shows, blogs, andwebsites; and political polls and advertisements. Since thecentral goal of the course is to foster greater personalinvolvement in public affairs and government, considerabletime will be spent learning to acquire and critically examinepolitical information, figuring out how to contactrepresentatives, participating in the election process, andtapping into New Hampshire’s presentations, guestspeakers, field trips, peer collaboration, and discussion.

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MATHMAT102 Math in the World

This course will develop mathematical thinking andnumeracy — first by unveiling the math that is everywherearound us (patterns of numbers, shape, relationships) andsecond by giving students some tools to identify and usemath in their everyday lives. Among other things, studentswill learn to see and test the mathematics implicit insymmetry, pattern, and perspective: math in art, architecture,and nature. Practical applications will help students witheverything from space conceptualization to analyzingprobability and data more critically.

PHILOSOPHYPHL401 Western Philosophy (prereq: AHT202 and HUM300 level)

This course explores the main developments andthinkers of Western philosophy, emphasizing aspects ofphilosophy that have relevance and impact in real-worldevents. This survey includes Socrates, Plato, Aristotle,Cicero, Machiavelli, Hobbes, Locke, Rousseau, Mill, Marx,Nietzsche, Weber, and others. Students will gain afamiliarity with the philosophical works that are thefoundations of Western thought. They will seek tounderstand fundamental issues involved in anyphilosophical system and to clarify personal value systemsby exploring a variety of viewpoints.

PHL403 Art and Meaning(prereq: AHT202, ENG102, and HUM300 level)

This course examines philosophical issues that ariseconcerning the creation, interpretation, and viewing of artprimarily, though not exclusively, in the Western arttradition. Topics include: What is art and its purpose? Whatis the “aesthetic,” and who is the best judge of it? Is good artbeautiful? Does art imitate life or does life imitate art? Doesthe meaning of art exist in the mind of the artist or in themind of the beholder? How does new technology affect themeaning and experience of art? Students will studyphilosophical thought, past and present, as a basis fordeveloping their own philosophies.

*Art Education students will take AED304 to fulfill an Art Education requirement.

PHL405 A History of Ethics: The Good in the Western Tradition (prereq: AHT202 and HUM300 level)

Students in this course will perform an historicalinvestigation and analysis of key ethical treatises from theWestern philosophical tradition. By studying different moral

theories, students will attempt to arrive at a generalunderstanding of the impact of various ethical attitudes onhistorical events and intellectual movements. The secondhalf of the course is devoted to an investigation ofcontemporary moral issues ranging from the bioethical, tothe socio-political, to human rights, and genocide. Studentswill grapple with these issues in light of what they havelearned in the first half of the course, to come to a moreenriched understanding of the delicacy, nuance, andultimate import of rigorous ethical inquiry.

PHL406 The Meaning of Evil (prereq: AHT202 and HUM300 level)

Through literature, philosophy, theology, and film, wewill grapple with the question: “What is the meaning ofevil?” To orient our understanding, we will consider evilbroadly in three ways: first, as related to the supernatural;second, as an orientation of the will; and third, as a result ofpolitical and economic structures. Our aim will be not onlyto think about the meaning of evil theoretically, but also toconsider how it shows itself in our lived experience. By wayof literature and films we will bring these theories closer toourselves and ask such questions as: Do we experience evil?Do we cause evil? What are we to do in the face of evil?

PROFESSIONALARTISTPRO302 Professional Artist (Restricted to Juniors)

This course encapsulates an intense focus on a rangeof critical professional practices for the contemporary artist.As a wake-up to the demands of the post-BFA experience,the course provides a preparatory review of topics includingrunning a studio, copyright, contracts, professional presenta -tion, resume writing, and critical reflection on one’s art.

RELATED ARTSREL301 Storytelling: Art of Communication (prereq: ENG102)

Storytelling is an ancient cross-cultural art form thatcalls upon words, images, gestures, and sounds in order toamuse, elucidate, edify, and to preserve culture. Studentsthink of storytelling as the issue of a voice; however, imagesand artifacts have long been incorporated into early formsof storytelling. Just so, PowerPoint® graphics conveysignificant accompanying visuals for speakers in workplacesand learning spaces today. This course explores the powerof speech and presentation. Students will gain strategies for

building confidence and managing stage fright; work oncrafting engaging stories and speeches; revise to polishpresentations; and strive to create compelling visuals toflesh out their words.

REL302 Voice and Performance(prereq: ENG102)

This highly participatory course seeks to encouragestudents to experience and explore their voices as expressiveinstruments. No prior voice experience is necessary. Thegoals of the course include developing the voice, boostingconfidence, enhancing expression, and elevatingcommunication skills. Through weekly vocal exercises,students will develop breath, body, and voice to nurture andenhance their abilities as vocalists. Students will also listento and evaluate singers from classical, blues, jazz, rock, andpop, allowing them to put a historical timeline to singingstyles. Listening and music theory exercises help to establisha “library” of sounds and a theoretical foundation fromwhence students will cultivate their individual sounds.

REL303 Music Appreciation: Music as History,Culture, and Art (prereq: ENG102)

Students in this course will learn aurally to identify asampling of musical styles, genres, and periods, as theydevelop appropriate vocabulary to describe and analyzewhat they hear. To do this work, students will study theindigenous beginnings of North American music, explore20th-century music such as blues, jazz, country, rock, pop,punk, and heavy metal, and survey the work of threeWestern classical composers: Bach, Mozart, and Stravinsky.We will also discuss social and political protest songs, aswell as music produced by New Hampshire composers andmusicians. The goal of music appreciation is to developknowledge and deepen enjoyment of music.

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REL308 Introduction to Theater Arts (prereq: ENG102)

Humans have been making theater throughouthistory. The acting instinct is reborn with every child playingmake-believe. As an art, performance requires acombination of insight, intuition, and deep familiarity withtools (particularly the actor’s body and voice). There will beno wallflowers in this class! What happens on stage arisesfrom both collaboration in the moment and from the givendemands of a play. Students will look briefly at history andread contemporary plays in different styles, including“realistic” and “abstract.” Students will try a variety ofapproaches to acting and directing. Journal work andwritten analysis will support our scene study andimprovisation. Students will even learn a little about groundplans, lights, and sets, and perhaps catch a show or two.Students will be using scenes from Samuel Beckett andWilliam Shakespeare, among others. Expect to crown theclass with a performance of short plays and scenes.

REL309 Content and Form: Book Arts (prereq: ENG102)

This course encourages students to experiment withtexts and images through the disciplines of writing, bookdesign, and book construction. It is intended to givestudents the opportunity to develop writing practice, whileequipping them with the bookbinding knowledge neededto create forms in which to house their written work.Students in this class will keep a writing journal (forresponses to writing prompts and assignments), learnbookbinding structures each week, and complete midtermand final projects. Book structures will include: simplefolded paper (Accordion, Ox Plow, and Flutter), sewn(Pamphlet, Coptic, and Long stitch), dimensional (Tunnel,Carousel, and Pop-ups), and altered books.

SCIENCESCI301 Biology and Ecology (prereq: ENG102)

This course explores the study of the Earth and ourhuman interactions with it. Students will gain anappreciation for the complexities of the environment andthe causes and effects of global changes over time. The classwill include lectures, field trips, and fieldwork incorporatinghistorical, contemporary, and future ramifications of themyriad species (including humans) on the planet.

SCI302 Anatomy and Physiology (prereq: ENG102)

This course examines the fundamental principles ofanatomy and physiology. Topics include metabolism, thenervous and endocrine systems, the digestive system, theskeletal and muscle systems, and the pulmonary andcardiovascular systems. Students will also study elements ofreproduction, genetics, and biochemistry, and developperspectives on the long-term care of the body.

SOCIAL SCIENCESOC208 Foundations in Psychology (prereq: ENG102)

Foundations in Psychology provides students with abroad, yet in-depth understanding of psychology byexamining the interplay between sensory, perceptual,biological, developmental, and social and cultural factorsthat effectively form the mind and give rise to emotions,cognition, and behavior. While each stated element isindividually introduced and studied, students are activelyengaged in the process of integrating the information into aholistic appreciation of psychology. This course is aprerequisite for all upper-level social science courses, andserves as a common foundation in social science for bothart ed and non-art ed students.

SOC304 Visual Anthropology (prereq: ENG102 and SOC208)

Documentary and particularly anthropologicaldocumentary offer certain realities on the screen. What isscientific reality? What is objectivity? In this course,students will look at film as ethnography and seek themeanings, hidden messages, and agendas that each filmpresents. Students will do this mostly with documentariesbut will also use films with strong points of view about andfrom other cultures. Our job is to become critics of film as“reality” — to look with new eyes at how the “other” isrepresented and how we, ourselves, are represented onfilm. To this end, students explore questions of race andmulticulturalism.

SOC305 Cultural Anthropology (prereq: ENG102 and SOC208)

Exploring our world and world views, this course helpsstudents to think critically about the human experience andwhat it means to be a citizen of the world. From ananthropological perspective, this course addresses pressingsocial issues such as power and privilege, hunger and poverty,war, sustainable development, education, the definition of

family and community, religion, and movements for socialjustice. This experiential and interactive course examines howcultural, economic, geographical, religious, political, and socialfactors shape the diversity of the human experience. Studentswill make connections between their own lineage, worldviews, and their interests in art and community.

SOC306 Women’s Studies (prereq: ENG102 and SOC208)

This course explores the historical role of revolutionarywomen thinkers in the world and how they haveinfluenced the way we think about women today. Guestlecturers, films, videos, and various texts will providematerial across a variety of disciplines through which tostudy women’s roles and status in our culture. Topics willinclude: women’s work, health care, economic and socialdiscrimination, women’s relations with other women andwith men, violence against women, sexuality, gender, andwomen’s contributions to the arts. Students explore theseissues in the context of representations of women inpopular culture through weekly writing, journaling, andstudent in-class presentations, including a group researchproject on popular culture.

SOC308 The Exceptional Learner(prereq: AED100 or AED200, ENG102 and SOC300 level)

We are all individual learners with individual learningstyles. What were your experiences in school? Did you everfall behind or were you ahead of the curve? Did yourecognize that there were support systems for students atyour school? Would you have qualified for these extrasupports? We will explore these questions and discuss theethical, legal, and educational ramifications of serving acontinuum of learners. This class will investigate tracking,normalization, social learning, hetero- and homogeneousclassrooms, and Individualized Education Plans (IEPs). Wewill look at a variety of curricula for individual learners:learning contracts, gifted and talented programs (AP), andinclusive and social learning situations for autistic, mentallychallenged, and other students with learning disabilities.Students will have a 15 hour on-site assignment workingwith child-specific aides, AAP, TAG, and SPED teachers,and coordinators in a public school system. Students willhave the opportunity to address how the arts and theirteaching strategies will meet the needs of all learners asthey revisit and revise their philosophies from AED100.

This is a comprehensive representation of New HampshireInstitute of Art courses. By semester, a more limited selectionof courses is available to registering students.

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I N S T I T U T E FA C U LT YFoad Afshar*Art Education and Liberal Arts FacultyPsyD, California Coast UniversityMEd, Harvard UniversityBA, University of Massachusetts

Christopher ArcherCeramics Faculty and Studio ManagerMFA, Maine College of ArtBFA, New York State College ofCeramics at Alfred University

Michael ArielPhotography FacultyMFA, Boston UniversityBFA, Massachusetts College ofArt, Art Institute of Boston

Jason BagattaFoundations FacultyMFA, Goddard CollegeBFA, Goddard College

John BaymoreCeramics and Liberal Arts FacultyCeramicist

Shauna BeaudinLiberal Arts FacultyMBA, Southern New Hampshire UniversityMS, Southern New Hampshire University

Sean BeaversPainting FacultyBFA, School of Visual Arts

Polly Becker*Illustration FacultyBFA, Rhode Island School of Design

Cameron BennettPainting FacultyBFA, Massachusetts College of Art

Pam BernardLiberal Arts FacultyMFA, Warren Wilson CollegeAB, Harvard University

Kathy BinnsJewelry FacultyBFA, Massachusetts College of Art

Carol BobbinsLiberal Arts FacultyMS, Pace UniversityBS, University of Colorado,Boulder

Jim Burke*Illustration Chairperson and FacultyBFA, Syracuse University

Elizabeth CameronPainting FacultyBA, St. Anselm College

Suzanne Canali*Art Education Chairperson and FacultyMA, New York UniversityK–12 Art Educator Certification,Franklin Pierce UniversityBA, New England College

William CassPainting Faculty and PrintmakingStudio ManagerMFA, The School of the ArtInstitute of ChicagoBFA, University of Illinois

Libby ChaseFoundations FacultyMS, Pratt InstituteBA, Plymouth State University

Yong ChenIllustration FacultyMFA, University of HartfordBFA, Massachusetts College ofArt and Design

Peter Clive*Painting Chairperson and FacultyMFA, Queens College of CUNYMEd, Queens College of CUNYBFA, Rhode Island School of Design

Lindsay CoatsFoundations FacultyMFA, Unversity of California, DavisBA, Wheaton College

Beverly Conway*Photography FacultyMFA, Art Institute of Boston at Lesley UniversityBA, University of New Hampshire

Melissa CoopermanLiberal Arts FacultyMEd, New York UniversityBA, University of Minnesota

Larry CrowePhotography FacultyBFA, Rochester Institute of Technology

Mark Dagenais Illustration FacultyBFA, Syracuse University

Tracey Dahle CarrierIllustration FacultyBFA, Syracuse University

Chelsea DeBayLiberal Arts FacultyMS, Southern Illinois UniversityBS, University of Maine

Mark DecarteretLiberal Arts FacultyMA, University of New HampshireBFA, Emerson College

Deborah DequattroLiberal Arts FacultyMAT, Bridgewater State CollegeBFA, Massachusetts College of Art

John DezielLiberal Arts FacultyMEd, Harvard UniversityBA, University of New Hampshire

Suzanne DittenberFoundations FacultyBFA, Columbus College of Art and DesignAICAD, School of the Museum of Fine Arts

Matthew DowdLiberal Arts FacultyMA, University of New HampshireBA, University of New Hampshire

Steven DurostLiberal Arts FacultyMA, Counseling Psychology,Notre Dame CollegeBA, Atlantic Union College

Linda FletcherCeramics FacultyBFA, New Hampshire Institute of Art

Martin Fox*Liberal Arts FacultyMA, Stanford UniversityBA, Rhodes College

Kate GartrellFoundations FacultyMFA, American UniversityBA, Vassar College

Joel Gill*Foundations Chairperson and FacultyMFA, Boston UniversityBA, Roanoke College

Mary GoldthwaiteLiberal ArtsMEd, University of New HampshireBA, University of New Hampshire

Eileen GreeneFoundations FacultyMFA, Savannah College of Art and DesignDiploma, Pennsylvania Academyof Fine Arts

Marcus Greene*Painting FacultyMFA, Indiana UniversityDiploma, Pennsylvania Academyof Fine Arts

Debra HaganLiberal Arts FacultyMFA, Goucher CollegeBA, Southwest Missouri State University

Rane Hall*Liberal Arts Chairperson and FacultyMA, Clark UniversityBA, University of Michigan

Willard HallPainting Faculty MFA, New York Academy of ArtBFA, Boston University

Karen HillsonLiberal Arts FacultyPhD, University of California,Santa BarbaraBA, Loyola MarymountUniversity

Adam HopperLiberal Arts FacultyMPhil, Yale UniversityBS, University of New Hampshire

Judy KeefeArt Education FacultyMEd, Plymouth State UniversityBA, Anna Maria College

Marjorie KochFoundations Faculty and AdvisorBFA, New Hampshire Institute of Art

Sean KramerLiberal Arts FacultyBA, Thomas Aquinas College

Hannah LarrabeeLiberal Arts FacultyMFA, University of New HampshireBA, University of New Hampshire

Benjamin LindquistPainting FacultyMFA, Yale UniversityBFA, The School of the ArtInstitute of Chicago

Sebastian Lockwood*Liberal Arts FacultyPGC Social Anthropology,Cambridge University, UKPGC Education, Cambridge University, UKBA, Boston University

Jerry LoFaroIllustration Faculty

Andrew LucasPhotography Faculty/Gallery DirectorMFA, School of Visual ArtsBFA, New Hampshire Institute of Art

Deborah MaharCeramics FacultyMEd, Antioch University New EnglandMA, University of Massachusetts AmherstBFA, University of Massachusetts Amherst

Emily MastersonFoundations FacultyMFA, Boston UniversityBFA, Boston University

M. Katherine McCarter*Director of the LibraryMSLIS, Simmons CollegeMA, Boston CollegeBA, Atlantic Union College

Peggi McCarthyLiberal Arts FacultyMLitt, Middlebury CollegeMA, Middlebury CollegeBA, Bryn Mawr College

Patrick McCay*Academic Dean/Painting FacultyMA, University of Notre DamePost Grad Diploma in Fine Art,Glasgow School of ArtDiploma in Fine Art, GlasgowSchool of Art

Claudia MichaelPainting FacultyMEd, Lesley CollegeBA, Emmanuel College

Maureen Mills*Ceramics Chairperson and FacultyMFA, University of NebraskaBA, Knox College

Anna MogilevskyPainting FacultyMFA, Mass College of ArtBFA, Rhode Island School of Design

Ernesto MontenegroSculpture FacultyCertificate of Merit, NationalAcademy of Design

Leigh NilandFoundations and Printmaking FacultyMA, University of the Arts LondonBS, University of New Hampshire

Meredith NoyesIllustration FacultyBFA, Syracuse University

Liza Oppenheim*Academic Support CenterCoordinatorMA, Simmons CollegeBA, San Francisco State University

Karen OrsilloCeramics FacultyBFA, University of Massachusetts

Ryan O’RourkeIllustration FacultyBFA, University of Hartford

Christine PaliePhotography FacultyMA, Savannah College of Art and DesignBFA, Curry College

Nanette PerrotteLiberal Arts FacultyMA, Lesley UniversityBA, Berklee College of Music

Alan Perry Jewelry FacultyMFA, Cranbrook Academy of ArtBFA, Cleveland Institute of Art

Tamara PetersLiberal Arts FacultyMA, University of New HampshireBA, Westfield State CollegeAA, Holyoke Community College

Holly PopielarzFoundations FacultyBFA, University of Massachusetts,Dartmouth

Faculty & Staff* Denotes full-time faculty

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Douglas PrincePhotography FacultyMA, University of IowaBA, University of IowaDeidre RileyFoundations and Painting FacultyBA, University of PittsburghJim RoldanFoundations FacultyBFA, Rhode Island School of DesignGary Samson*Photography Chairperson and FacultyBFA (Hon.), New HampshireInstitute of ArtCertificate, Franklin InstituteCatherine ScalaLiberal Arts FacultyMFA, Art Institute of Boston at Lesley UniversityBA, Clark UniversityPatricia Elliott SchapplerPainting FacultyMFA, Brooklyn CollegeBFA, University of New HampshireGlen SchefferPhotography StudioManager/FacultyBFA, New Hampshire Institute of ArtJill SilosLiberal ArtsPhD, University of New HampshireMA, University of ColoradoBS, University of ConnecticutJoseph SilveiraLiberal Arts FacultyMA, University of New HampshireBA, University of New HampshireRebecca SmallidgeFoundations FacultyMFA, Boston UniversityBFA, Boston UniversityHenrietta StartupLiberal Arts FacultyMSc, University of London, UKMPhil, University of Greenwich, UKBA, University of York, UKS StephanieLiberal Arts FacultyMFA, Vermont CollegeBA, University of New Hampshire

Dia StolnitzPhotography FacultyMFA, Yale UniversityBFA, Reed College

Darryl Thompson Liberal Arts FacultyMA, University of New HampshireBA, University of New Hampshire

Nannette ThrushLiberal Arts FacultyPhD, Indiana UniversityMA, Indiana UniversityBA, Texas Christian University

Christopher VolpeLiberal Arts FacultyMA, University of New HampshireBA, State University of New York at Stony Brook

Derrick WalcottLiberal Arts FacultyMS, Southern New Hampshire UniversityBA, University of New Hampshire

Lindsey Warren Foundations FacultyMFA, Boston University BFA, Boston University

Jeshurun WebbIllustration FacultyMFA, Rhode Island School of DesignBFA, University of Kansas

Jill WeberIllustration FacultyBFA, New Hampshire Institute of Art

David WellsPainting Faculty and AdvisorMFA, Rhode Island School of DesignBA, State University of New YorkCollege at Potsdam, NY

Alison Williams*Photography, Painting, and Liberal Arts FacultyMFA, Art Institute of Boston at Lesley UniversityBFA, Edinburgh College of Art

ADMINISTRATION2010–2011Roger Williams, President

Melissa Sullivan, ExecutiveAssistant to the President

ACADEMIC AFFAIRSPatrick McCay, Academic Dean

Kathy Traynor, AcademicAffairs Administrator

Jim Burke, Chairperson, Illustration

Suzanne Canali, Chairperson, Art Education

Peter Clive, Chairperson, Painting

Joel Gill, Chairperson, Foundations

Rane Hall, Chairperson, Liberal Arts

Maureen Mills, Chairperson, Ceramics

Gary Samson, Chairperson, Photography

Foad Afshar, Art Education and Liberal Arts Faculty

Chris Archer, Ceramics Studio Manager and Faculty

Polly Becker, Illustration Faculty

Beverly Conway, Photography Faculty

Martin Fox, Liberal Arts Faculty

Jen Getchell, Manager of Administration for the Chairpersons

Marcus Greene, Painting Faculty

Marjorie Koch, FoundationsFaculty and Advisor

Jane LeBlanc, Assistant to the Registrar

Sebastian Lockwood, Liberal Arts Faculty

Andrew Lucas, Gallery Director,Photography Faculty

M. Katherine McCarter, Director of the Library

Liza Oppenheim, AcademicSupport Center Coordinator

Glen Scheffer, Photography Studio Manager

Gail Sora, Registrar

David Wells, Painting Facultyand Advisor

Alison Williams, Photography,Painting, and Liberal Arts Faculty

ENROLLMENT & STUDENT SERVICESLiam Sullivan, Director ofEnrollment and Student ServicesAmanda Abbott, Assistant Director of EnrollmentJennifer Chagnon, Admissions AdministratorJacqueline Cason, Admissions OfficerNina Earley, Admissions OfficerHeather Hilton, Admissions OfficerCindy Rizza, Admissions OfficerBonnie Hoyt, Seasonal RecruiterMichael Wynne, Director of Student Affairs Shane Hart, Managing Directorof Residential Life and StudentDevelopmentTanya Popoloski, CounselorSteven Larrivee, Resident DirectorElizabethe Plante, Resident DirectorJessica Rolfe, Resident DirectorWhitney Williams, Resident DirectorCONTINUING EDUCATIONKaren Francis, Director ofContinuing Education

Diane Vesci, ContinuingEducation Coordinator

Phoebe Ann Neiswenter, Interior Design CoordinatorDEVELOPMENT & PUBLIC RELATIONSKatie Swinburne, Public Relations Manager

Julia Lafleur, Development Assistant

Bob Masterton, Development SupportFACILITIESJon Woodcock, Facilities Manager

Phil Cusson, Facilities andMaintenance Technician

David LaForce, Facilities andMaintenance Technician

Raymond Rousseau, Facilitiesand Maintenance Technician

Abdul Salam Wasir, Facilitiesand Maintenance Technician

Jorge Vargas, Facilities andMaintenance Technician

Amy Bettencourt, Security Guard

Dick McAlpine, Security Guard

John Ranfos, Security Guard

Chris Starks, Security Guard

Brandon Vesci, Security GuardFINANCE &ADMINISTRATIONJames Chatterton, Vice President of Finance

MaryAnne Labrie, Accounting Manager

Catherine Consentino, Bursar

Michelle Gagnon, Payroll & Benefits Specialist

Diane Lamy, Business Services Manager

Drew Royer, Director ofInformation Technology

Erwan De Beckers, IT Specialist

Cami Czohara, Director of Financial Aid

Joan Hannan, Assistant Directorof Financial Aid

Sara Prindiville, Financial Aid Assistant

Bill Scimone, Human Resources DirectorTETI LIBRARYM. Katherine McCarter,Director of the Library

Sarah Ballard, Circulation Manager

Elise Daniel, AssistantLibrarian, Technical Services

Elizabeth Holmes, Weekend Reference Librarian

Anastasia Weigle, AssistantLibrarian, Reference

Martha Saywer, Reference AssistantCAMPUS RESOURCESJoe Vivilecchia, Retail Manager

Maurice Beauchemin,Assistant Retail Manager

Katrina Davis, Interim Café Manager

BOARD OFTRUSTEES2010–2011CHAIRMANRon CoveyPresident & CEO,St. Mary’s BankVICE CHAIRMANRichard SamuelsAttorney, McLane, Graf, Raulerson & Middleton, P.A.TREASURERGeorge Kidd, Jr.President Emeritus & Prof. ofEconomics, Tiffin UniversityASSISTANT TREASURERArthur SullivanPartner, Brady Sullivan PropertiesSECRETARYEllie CochranDirector of Regional Philanthropy,New Hampshire CharitableFoundationLIFETIME TRUSTEESMaurice BeliveauGerry WilliamsPotterTRUSTEESSkip AshoohConsultant, Devine Strategies

Barbara BickfordPhotographer

Howard BrodskyCo-Founder, Chairman and Co-Chief Executive Officer,CGA Global Partners

Tom DoughertyVice President, Quality Assurance,Fidelity Investments

Lorraine DufresnePresident Emeritus,Board of Directors, SANH

Honorable Michael E. JonesJoseph LovejoyCertified Public Accountant,Baker, Newman and Noyes

Paul RamseyVice President – Energy Delivery,Public Service of New Hampshire

David RhodesPresident, School of Visual Arts

Phyllis StiblerPresident, Stibler and Associates LLC

Admission to the Institute’s BFA program is offered to those candidates whodemonstrate a strong combination of dedication and artistic, intellectual, and personalpromise. Our application is designed so that the Admissions Committee gets to knoweach applicant as an individual. The Committee pays special attention to each applicant’sstrengths, passions, artistic ability, and academic potential. We also recognize the diversityof our applicants in areas such as art and life experiences, educational interests, andcultural backgrounds.

The application process has several required components, including careful review ofthe essay, letters of recommendation, and academic records. Each component is takeninto consideration, with special attention paid to the quality of the portfolio.

A P P L I C AT I O NCompleted applications to the BFA program include: an application form, two letters

of recommendation, 500-word essay, official high school transcript, and a portfoliointerview. SAT or ACT scores are not required to complete an application but are highlyrecommended.

The application form may be completed in paper or digital form. Paper applicationsare available at the back of this viewbook/catalog or by contacting the Admissions Office.Completed paper applications must have a signature and date. Send or deliver the

completed paper application to the Admissions Office at the Institute with an applicationfee of $25. Digital applications may be completed online through the Institute’s website,www.nhia.edu, by clicking on BFA Admissions then Online Application. The $25application fee is waived for digital/online applications.

The two letters of recommendation may be from present or former teachers,guidance counselors, employers, or professionals in the art field who have had asignificant influence on your artistic development.

Official transcripts should be sent to the Admissions Office directly from the highschool that you attend or attended. If you are currently in high school, SAT or ACT scoresare strongly recommended. A GED can be accepted in lieu of a high school diploma.

The 500-word essay should convey why you want to attend the New HampshireInstitute of Art as well as explain what inspires you to create artwork. Students looking topursue Art Education Certification should also include in their admissions essay why theyare inspired to become an art educator.

A portfolio is also required to complete an application. Please refer to the portfoliorequirements listed under “The Portfolio Interview.”

If you are a transfer student, the above items are required along with all college-leveltranscripts. Official transcripts should be sent directly to the Institute’s Admissions Officefrom the college(s) or university(ies) you attended.

If you are an international student, you must submit results from the TOEFL exam.The ELPT exam is accepted for international students who are currently enrolled at aninstitution where English is the language of instruction. All transcripts, test scores, lettersof recommendation, and essays must be in English.

You may apply online, by mail, at Open Houses, during Portfolio Days, or duringhigh school visits. All supporting materials, including fees, should be mailed directly tothe Admissions Office. Please do not mail original artwork. If you have any questionsplease call the Admissions Office at 1-866-241-4918 x 589.

Admissions OfficeNew Hampshire Institute of Art156 Hanover StreetManchester, NH 03101

T H E P O R T F O L I O I N T E R V I E WThe review of a portfolio provides insight into the applicant’s creative process and

methods and is an indication of an artist’s creative capacities and strengths. Portfolioreviews are required from all applicants. We prefer that portfolio reviews be conducted inperson. However, we accept portfolios in slide or digital format from applicants who havecircumstances that prevent their scheduling a personal interview.

Portfolio reviews can be conducted at the Institute by appointment or at OpenHouses, National Portfolio Days that we attend, or high school visits.

The portfolio must consist of 15 to 20 original works of art. Keep in mind that yourportfolio should reflect your artistic strengths and interests. Typical portfolios should

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include several direct observational drawings (not copied from photographs or publishedworks) as well as other artwork. These may include a variety of 2D and 3D work such asphotography, painting, illustration, ceramic, sculpture, digital, printmaking, metal-smithing, plus other mediums. Sketchbooks can also be an important part of yourportfolio review and should be included whenever possible. Applicants applying to thePhotography program may submit portfolios comprised of all photography and applicantsapplying to the Ceramics program may submit portfolios comprised of all ceramic work.

To schedule a portfolio review at the Institute or your high school or to find outwhich Portfolio Days we attend, please contact the Admissions Office at 1-866-241-4918x589 (toll free) or admissions@nhia.edu.

P R I O R I T Y A C C E P TA N C EThe Priority Acceptance application deadline is designed for traditional incoming

freshmen who are pursuing the New Hampshire Institute of Art as their first choicecollege. Applicants may be awarded Priority Acceptance provided that they have acompleted BFA application by the December deadline, meet the admissionsqualifications, and are recent, traditional high school graduates. The deadline forcompleted Fall 2011 Priority Acceptance applications is December 6, 2010.

N O T I F I C AT I O N O F A D M I S S I O N D E C I S I O NA notification of the decision regarding a student’s application is usually made

within three weeks, and the student is notified in writing by the Director of Enrollmentand Student Affairs. Notification of the decision for transfer or international applicantsmay take up to four weeks.

A C C E P T I N G T H E I N S T I T U T E ’ S I N V I TAT I O NThe prospective student will find an enrollment deposit form included with his or

her acceptance letter. This form must be completed and returned to the Institute with a$200 enrollment deposit no later than the due date listed on the acceptance letter. Theenrollment deposit reserves a space for the student in the next semester’s class, is applieddirectly to that semester’s tuition, and is non-refundable.

A separate $200 deposit for housing is required if the student would like on-campushousing.

Accepted and enrolled students will be required to submit a digital portfolio withselections of their application artwork. These images will be kept on file for the Institute’sAcademic Assessment program.

Transfer, Nontraditional, and International ApplicantsC O L L E G E B O A R D A D VA N C E D P L A C E M E N T P R O G R A M

A student who has received a score of 4 or 5 in the Advanced Placementexaminations in academic or studio subjects may be approved for transfer credit in anappropriate course or elective credit.

C L E P – C O L L E G E L E V E L E N T R A N C E E X A M I N AT I O NNew Hampshire Institute of Art can accept up to 24 credits from CLEP, College

Entrance Examination, toward a BFA degree. Only tests receiving a passing score andfilling a graduation requirement are eligible for transfer credit. Accepted CLEP credits willbe reviewed using the same policy as college transfer credit and Advance Placement Testcredits. Please note that the Institute’s policy typically accepts up to a total of 60 transfercredits, combined from all sources.

T R A N S F E R A P P L I C A N T S If you are applying as a transfer student from another institution, you must submit

all college level, official transcripts along with the same application materials as a first-time student.

If you are interested in the Institute’s Art Education Preparatory Program and havealready earned your BFA or BA, you must fill out the BFA application and follow allguidelines for transferring into our BFA program. The Art Education Program is not aconversion program. Applicants with an undergraduate degree wishing to earn their K – 12 art educator certification will meet with the Art Education and DepartmentChairperson to design their course of study. The Institute’s philosophy is that practicingartists make better educators. We are committed to ensuring that art educators from ourprogram are committed to art, education, and art advocacy.

Typically, a maximum of 30 studio art credits and 30 liberal art credits earned at othercolleges and universities may be transferred toward the BFA degree at the Institute. Onlycourses carrying a grade of C or better are eligible for transfer. The Institute reserves theright to not transfer credits for coursework that is more than ten years old, unless a degreehas been awarded and a grade of C or better was earned. Courses taken through theInstitute’s Certificate Program before admission to the BFA program are subject to transferreview and restrictions and Department Chairperson review of the student’s portfolio.

The review of transfer credits for studio courses may require that the student submita course syllabus, written work, and portfolio examples that represent his or her work in aparticular class.

A R T I C U L AT I O N A G R E E M E N T SThe New Hampshire Institute of Art has an articulation agreement for students from

the following colleges and universities: the University of New Hampshire, Manchester;NHCC Laconia; Northern Essex Community College, Haverhill, MA; and VincennesUniversity, Vincennes, IN. Students who earn associate degrees from these institutionshave simplified application and transfer procedures in a “2+2” agreement. For specificinformation on the Articulation Agreements, contact the Institute’s Admissions Office.

N O N T R A D I T I O N A L A P P L I C A N T SThe New Hampshire Institute of Art welcomes nontraditional student applicants

and the diversity of experiences that they bring to the studios. If you graduated fromhigh school more than a few years ago and personal or business demands preventedyou from following your dream of pursuing a degree in the arts, or you’ve just discovereda passion for art, you may want to refer to your pertinent life experiences in youradmissions essay. Nontraditional applicants must follow the same admissions procedureas traditional students.

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L I F E E X P E R I E N C E C R E D I T A student with exceptional life or work experience, documented by art work, his or

her exhibition history, or published or unpublished writings, may apply for a maximum ofnine credits to be transferred toward studio or liberal arts requirements or electives.

I N T E R N AT I O N A L A P P L I C A N T SInternational applicants for admission follow the same application requirements

described above and must provide proof of English language proficiency. The Test ofEnglish as a Foreign Language (TOEFL) is required of all international applicants whosefirst language is not English. A minimum score must be achieved for admission to thecollege – 530 paper, 190 computer, or 70 Internet. The English Language Proficiency Test(ELPT) is accepted in lieu of the TOEFL for an international student currently enrolled atan institution where English is the language of instruction.

International students who have been accepted must provide official, certifieddocumentation of funding available to support one year of study at the Institute. Uponapproval, the Institute will issue the Sevis I-20 entitling you to apply for the F-1 student visa. Although the Immigration and Naturalization Service (INS) requiresdocumentation of funding sources for only one year of study, we encourage you to planfunding for each year of study. All documents must be in English.

Financial Assistance Opportunities Financial aid is an integral part of college planning, and the Financial Aid Office at

the New Hampshire Institute of Art is committed to assisting students through every stepof the process. The Institute offers several sources of aid, including grants, scholarships,loans, and other forms of financial assistance. The Free Application for Federal StudentAid (FAFSA) is the only form required, and our recommended deadline is May 1. Whilestudents may still qualify for some financial aid after this priority deadline, filing prior toMay 1 ensures consideration for all aid programs. The federal financial aid code for theInstitute is 031823. Please contact the Financial Aid Office for further information at (603)836-2577 or financialaid@nhia.edu.

I N S T I T U T E S C H O L A R S H I P O P P O R T U N I T I E SThe following scholarships are offered based on several factors, including need,

scholastic achievement, and artistic ability.

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First From High School Scholarship:Awarded to a student from aqualifying high school that is highlyrecommended by his/her art teacherand is the first student from that highschool to enroll in the BFA program.

The Founders Scholarship:Awarded to incoming students withan outstanding application.

Fuller Merit Scholarship:Awarded to students with anoutstanding portfolio review.

Basilia Gakidis Scholarship:Awarded to a current nontraditional student.

Deborah Grant Scholarship:Awarded to a nominated studentwho has identified Ceramics as his/her area of concentration.

Paul and Ann Harvey Scholarship:Awarded to nominated students whohave participated in the end of theyear student reviews.

Housing Scholarship:Awarded to students withdemonstrated financial need who will reside on campus.

John Hubenthal Scholarship:Awarded to a nominated studentwho is entering his/her junior or senior year.

Corbin T. Hunter Scholarship:Awarded to a nominated studentwho has identified Art Education as an area of study.

NHIA Scholastic Art Awards Scholarship:

Awarded to incoming freshman witha top portfolio in a Scholastic ArtAwards competition.

Presidential Scholarship:Awarded to traditional students withan outstanding portfolio review and an outstanding high school GPA.

Kristin Johanna Scannell Scholarship:Awarded to a student who hasidentified Painting or Illustration as his/her area of concentration.

State Matching Aid Grant:Awarded to a student from aqualifying state that is highlyrecommended by his/her art teacher.

Transfer Scholarship:Awarded to students who aretransferring to the Institute with a minimum of 15 college credits.

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Housing Costs for Academic Year 2010–2011R E S I D E N T S T U D E N T H O U S I N G

Per Semester 2 SemestersHampshire House

Single ...........................................................................3,565 ..........................7,130Double .........................................................................2,714 ..........................5,428Triple.............................................................................2,036 ..........................4,072

Institute Hall at the YMCASingle ...........................................................................3,670 ..........................7,340Double .........................................................................2.799 ..........................5,598Triple (not likely to be used) .....................................2,099 ..........................4,198

Merrimack House (formerly Rectory)Single ...........................................................................3,670 ..........................7,340Double .........................................................................2,794 ..........................5,588Triple (not likely to be used) .....................................2,096 ..........................4,192

The PlazaSingle ...........................................................................3,775 ..........................7,550Double .........................................................................2,874 ..........................5,748Triple.............................................................................2,156 ..........................4,312

88 Lowell StSingle (not available) ...................................................N/A............................N/ADouble .........................................................................3,193 ..........................6,386Triple (not available)...................................................2,395 ..........................4,790

In addition, each student will be charged a Housing Damage Deposit of $250 per academicyear. The deposit will be refunded to the student, less any damage to NHIA property, at theend of the academic year.

Tuition & Fees for 2010–2011F U L L T I M E S T U D E N T Per Semester 2 Semesters Tuition (12 – 18 credits per semester)....................................$8,870 ......................$17,740Studio Fee .............................................................................. $735 ....................... $1,470Registration Fee....................................................................... $30......................... $60Student Activity Fee................................................................ $80........................ $160Technology Fee....................................................................... $65........................ $130Supplemental Lab Fee*........................................................ $275........................ $550

R E S I D E N T S T U D E N Tplease refer to housing chart for specific costsSingle Room**.....................................................$3,775 (average) ........................$7,550Double Room** ..................................................$2,875 (average) ........................$5,750Housing Damage Deposit*** .................$250 per academic year

H E A LT H I N S U R A N C ERequired for Full Time Students****....................................$641

F U L L T I M E T U I T I O N , Fees & Single Room . . . . . . . . . . . . . $27,110Illustration/Photo concentration students:...................add $550Double Room:..........................................................deduct $1,800Housing Damage Deposit:.............................................add $250Health Insurance: .........................................amount to add $641

PA R T T I M E S T U D E N T Per SemesterTuition per 3 credit course...................................................$1,695Studio Fee per studio course .................................................$233Registration Fee .........................................................................$30Student Activity Fee ..................................................................$80Technology Fee ..........................................................................$65Supplemental Lab Fee*......................................................... $138

O T H E R F E E S :Graduation Fee (graduating seniors only) ..............................$100

* This fee is charged to Photo/Illustration concentration students.** Housing charges are different for each dormitory location.*** The Housing Damage Deposit (for resident students only) is assessed only once duringthe academic year and will be refunded to the student, less any damage to NHIA property,at the end of the academic year. **** Health insurance is required for all full time BFA students. The charge will be assessedonly once during the academic year. Health insurance may be waived with proof of healthinsurance in another plan.In addition to the above costs, the Institute recommends that each student allow for anadditional expenditure of $2,000 per semester for meals, books and supplies.Students enrolled in more than 18 credits per semester will be assessed an OverloadCharge of $565 per credit.

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Application ChecklistN E W S T U D E N T S :

�� Completed application form including signature

�� Application fee ($25.00)

�� Portfolio review

�� First letter of recommendation

�� Second letter of recommendation

�� Essay (500 words)

�� Official high school transcripts

�� SAT or ACT scores (recommended)

�� Photo (optional)

T R A N S F E R S T U D E N T S A D D :

�� All official college transcripts

I N T E R N AT I O N A L S T U D E N T S A D D :

�� TOEFL or ELPT scores

�� Official high school/secondary school transcripts in English

�� Any official college transcripts in English

Send complete applications and supporting materials to:Admissions OfficeNew Hampshire Institute of Art156 Hanover StreetManchester, NH 03101

If you have any questions about the application process, please call the Admissions Office at 1-866-241-4918 x589.

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A P P L I C A N T

Full Name: LAST_________________________________________________ FIRST_______________________________ MIDDLE_______________

If any materials will be sent to us under a different name, please indicate here:__________________________________________________

Social Security Number: ______________________________________ Date of Birth: ______________________ �� Male �� Female

Mailing Address: NUMBER & STREET_________________________________________________________________ PO BOX # IF APPLICABLE ___________

City/Town: ____________________________________________________________________ State: ________ Zip: __________________

Phone Number: (Home)______________________________________________ (Cell) _____________________________________________

E-Mail: _________________________________________________________________________________________________________________

How would you describe yourself?(Responding to this question is optional and information received will not be used in a discriminatory manner.)�� Nonresident Alien �� Race and Ethnicity Unknown �� Hispanic of any race �� American Indian or Alaska Native �� Asian �� Black or African American �� Native Hawaiian or Other Pacific Islander �� White �� Two or more races

I am applying for the following semester: �� Fall 20______ �� Spring 20______ �� Full Time �� Part Time

Concentration (check one): �� Ceramics �� Illustration �� Painting �� Photography �� Undecided (see page 24)

Are you interested in pursuing certification in Art Education? �� Yes �� No (see page 25)

Are you interested in a minor? �� Yes �� No Choose ONLY one: �� Creative Writing (see page 28) �� Printmaking (see page 29)

Are you interested in applying for financial aid? �� Yes �� No

Have you ever been disciplined by a student or faculty judicial board for misconduct, or have you been arrested for or convicted of a crime that has not been annulled by a court, including sex-related or child abuse offenses? �� Yes �� No

If YES, please explain:___________________________________________________________________________________________________

C I T I Z E N S H I P & V E T E R A N S TAT U S

Are you a U.S. citizen? �� Yes �� No IF NOT, your country of citizenship is: _______________________________________________________________

Your address in home country:____________________________________________________________________________________________________________

Are you a veteran? �� Yes �� No IF YES, please give dates of service: ____________________________________________________________________

E D U C AT I O N

List all high schools and dates attended (M/Yr). Indicate any graduation dates:

School: ________________________________________________________________ Dates Attended: ______________________ Year Graduated: ________

School: ________________________________________________________________ Dates Attended: ______________________ Year Graduated: ________

B A C H E L O R O F F I N E A R T S A P P L I C AT I O N

Attach Photo or Self Portrait

Here(optional)

Educationcontinued on back.

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Please list your high school art teachers: ___________________________________________________________________________________________________

List all colleges attended and dates attended (M/Yr). Indicate any graduation dates and degrees earned (use additional sheets if necessary):

School: ________________________________________________________________ Dates Attended: ______________________ Year Graduated: ________

School: ________________________________________________________________ Dates Attended: ______________________ Year Graduated: ________

E M P L O Y M E N T

Are you currently employed? �� Yes �� No IF YES, where: ______________________________________________________________________________

H O U S I N G

Will you need housing in order to attend New Hampshire Institute of Art? �� Yes �� No �� Unsure

H O W D I D Y O U H E A R A B O U T U S ?

How did you first hear about the Institute? (check any/all that apply)�� High School Visit �� College Fair �� Web Search �� Received Brochure in the Mail �� Portfolio Day �� Creative Outlook Magazine�� Email �� Teacher �� Friend �� Other: ______________________________________________________________________________________________

If the Institute was recommended to you by a past or present student or faculty member, please let us know who he/sheis and if we may contact him/her to discuss your candidacy: __________________________________________________________________________________

PA R E N T / G U A R D I A N I N F O R M AT I O N

Guardian/Mother’s Name: ____________________________________________________________________ Phone: ___________________________________

Address: _______________________________________________________________________________________________________________________________

Guardian/Father’s Name: _____________________________________________________________________ Phone: ___________________________________

Address: _______________________________________________________________________________________________________________________________

M E D I A R E L E A S E

I �� Give �� Do Not Give (check one) the New Hampshire Institute of Art permission to send press releases to my hometown newspaper concerning awards, shows, or other information about my work and accomplishments at the Institute that may be of interest to my family and friends.

Signed:________________________________________________________________________________________________________________________________

Name of Hometown Newspaper: ________________________________________________________ City: ___________________________ State: __________

THE INFORMATION I HAVE SUPPLIED ON THIS APPLICATION IS TRUE TO THE BEST OF MY KNOWLEDGE AND BELIEF. I UNDERSTAND THAT ANY MATERIAL SUBMITTED WITH THIS APPLICATION BECOMES PROPERTY OF THE INSTITUTE AND WILL NOT BE RELEASED TO ANOTHER PARTY WITHOUT MY PERMISSION.

SIGNATURE: _________________________________________________________________________________ DATE: _________________________________

A D D I T I O N A L I N F O R M AT I O N

Project Directors: Amanda Abbott, Liam Sullivan, Kathy TraynorPrincipal Photographer: Gary Samson Photography: Glen Scheffer Verizon Wireless Arena photo by John Ayres Amherst Street night shot by RixonPhotography.comLowell Street night shot by RixonPhotography.com

Design: Nikki Savramis, Good Idea Design Printing: Puritan Press, Hollis, NHFront Cover: (left to right) Sara Fallahkhayr, NicholasEsposito, Brooke Buckman, Jeston RodriguezBack Cover: (clockwise top left) James Willette,Gabrielle Gergler, Brittany O’Neil, Emily Palmquist,Saren Triff, Keegan Brennan, Anthony Dupree

The New Hampshire Institute of Art reserves the rightto modify or change all portions of this catalog withoutnotice. These changes could apply to prospective orcurrent students of the Institute. Statements in thiscatalog do not constitute a contract.© New Hampshire Institute of Art 2010

C R E D I T SLOWELL STREET PHOTO BY RIXON PHOTOGRAPHY

NEW HAMPSHIRE INSTITUTE OF ART 148 Concord Street • Manchester, NH 03104-4858 • (866) 241-4918 • (603) 623-0313 • Fax (603) 641-1832 • www.nhia.edu