CVPA Summer Course Listing

CVPA Summer offers intensive summer courses and workshops specifically designed for arts educators, students, and anyone interested in the arts.

Earn three undergraduate or graduate credits per course as you study intensive art education, music, and/or studio art. Program faculty are innovative thinkers and prominent figures in their respective fields.

All courses meet national and local education standards frameworks. 

CVPA Summer Workshops       CVPA Summer Course List


CVPA Summer Courses 2017
(3 Credits Each)


Online courses

Studies in Visual Culture: Renaissance to Modern Art
ARH - Art History, ARH 125-01, ARH 125-02 

ONLINE - Session 1: May 21st to June 9th, Session 4: July 18- August 16, Instructor: Thomas Stubblefield

Surveys painting, sculpture, and architecture from the Renaissance to Impressionism as well as its ancient and medieval antecedents. Students who complete this course will not receive credit for ARH 102.

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Modern-Contemporary Art
ARH - Art History, ARH 150

ONLINE - Session 2: June 13 to July 13, Instructor: Thomas Stubblefield

Surveys developments in painting and sculpture from the late 19th century to the present. The historical context of major artists and the theoretical, critical, and aesthetic issues surrounding their works will be discussed. (Formerly offered as ARH 103.)

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ARH - Art History, ARH 329

ONLINE - Session 2: June 13 to July 13, Instructor: Thomas Stubblefield

Issues and problems in portraiture, of all media, from the Renaissance through the 20th century.

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The Art of Portugal
ARH - Art History, ARH 313 / POR 313

ONLINE - Session 4: July 18 to August 16, Instructor: Mario Pereira

Introduction to the cultural development of the Portuguese people throughout history. Lectures, class discussions, written and oral reports on significant aspects of Portuguese literary, social and artistic life. 

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Survey of Non-Western Art 
ARH - Art History, ARH 390

ONLINE - Session 4: July 18 to August 16, Instructor: Catherine Moran

This course introduces and examines the creative expressions of people in the “Non-Western" tradition. This survey level course is intended to provide insights into the way material choices, forms, utility, and design, communicate knowledge related to the spiritual expressions and cultural traditions of peoples around the globe, focusing on: the Islamic world, Africa, Asia, the Pacific Islands and the Americas. Selected traditions are critically examined through exercises, reading, film, online research, and discussion. By exploring the experience of peoples in the non-western world through their art, this course raises critical global consciousness and expands knowledge of world art.

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Architectures and Interiors of the Gilded 
ARH - Art History, ARH 390

ONLINE - Session 1: May 21st to June 9th, Instructor: Catherine Moran

French writer, Charles Peguy, noted that the world changed more in the 30 years surrounding the year 1900 than it had since the time of Jesus Christ. This class will explore the sweeping changes ushered in during the era dubbed by Mark Twain, the Gilded Age. Students will explore stylistic properties, design elements, functions of public and private spaces, as well as technological developments, and urban patterns associated with Gilded Age society in America. This class is designed to provide the student a familiarity with stylistic, social and technological hallmarks of the Gilded Age in order to deepen the student’s appreciation of the zeitgeist of the era.

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Survey of Decorative Arts and Design: The Ancient World to Present 
FIA 498, ART 510, ART 530

ONLINE - Session 1: May 21st to June 9th, Instructor: Catherine Moran

This course examines how man made objects create meaning in a world full of distinction and complexity. The investigation is a broad consideration of the history of global decorative arts production from the Ancient World to present. Rather than attempt to gain a comprehensive view of a single region or culture, specific topics of inquiry provide insights about how material choices, styles, forms, and designs communicate knowledge related to culturally specific spiritual expressions, cultural traditions, political and economic contexts which inform our global experience of being human. The inherited world view is critically examined through exercises, readings, film, online research, and discussion. Through focused examination of artifacts this course expands knowledge of the world of decorative arts and design.

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On-campus Courses

Exploring Southcoast Landscape
FIA - Fine Arts, FIA 223, 224, 241, 242, 243

May 22-June 5  (no class 5/29), Instructor: Andrew Nixon
Dartmouth Campus, CVPA, Room 354

An intensive two-week plein air painting and drawing course centered on the local south coast landscape. Most class time will be spent outdoors at the Slocum River Reserve near campus, and amid the surrounding rivers, hills and coastline of Dartmouth and Westport. Students will be introduced to a variety of approaches and media and encouraged to extend their drawing and painting studies through variations on a single subject. An important part of the course will be an examination of the role that working in the south coast has played in the careers of artists of the American landscape tradition, such as Martin Johnson Heade, Albert Pinkham Ryder, and John Fredrick Kensett. Field trips to the RISD Museum and the Newport Art Museum to examine artworks and their connection to place will also be an important part of the course. Reliable personal transportation each day is required.

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Joomchi & Beyond: New Approaches to Traditional Joomchi Papermaking
ATR - Artisanry, ATR300, ART - Graduate Art Program, ART 510/530

August 14-25 (M-F) 9am - 5pm, Instructor: Jiyoung Chung
New Bedford Star Store Campus, Room 256A

Joomchi is a unique Korean traditional way of making textured handmade paper by using water, and eager hands. The terminology originated from the meaning, “making a Joomoney (Pouch)”. Record says that the Koreans started making Joomchi in Goryeo Dynasty, A.D.918 – 1392.. There are a few remaining Korean treasures made with this technique:  purses, folding pouch, outfit for rain, etc. Joomchi creates strong, textural and painterly surfaces by layering and agitating Hanji (Korean mulberry papers), not easy to rip/tear and creates elegant looking surface: As time goes, the surface becomes more and more elegant and aged looking, surfaces sometimes look like leather.

This class offers students the opportunity to become acquainted with its history, usage and role in Korean society, as well as the hands-on techniques and reinterpreted adaptations into contemporary art form. Joomchi’s usages are diverse and it can be incorporated into surface design, collage, new way of drawing, one-of-a-kind book art, wearable, unconventional body ornament or sculptural object: 2-D & 3D either functional or fine art oriented works.

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Portrait Drawing
FIA - Fine Arts, FIA 241/ 242/ 221/ 222; ART - Graduate Art Program, ART 510

July 10-21 (M-F), Instructor: Liliya Krys-Burhoe
Dartmouth Campus, CVPA, Room 357

Expand your observational skills while drawing or painting from a live model in a staged environment. Spatial relationships between color, value, light, form and anatomy is the main focus of these intense studies. Charcoal, collage, ink, watercolor, acrylics and brush will be explored. Students will be working under the premise that the uniqueness of each model can be found through a discovery of underlying abstract shapes. The practical studies will be supplemented with reading, PowerPoint presentations, museum/gallery visits, and individual and group discussions. (Influences: David, Manet, Matisse, Freud, Zurbaran, Cezanne, Morandi, Licht)

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Women Abstractionists: Careers and Techniques
FIA - Fine Arts, FIA 498, ART - Artisanry, ART 510, ART 530

July 24-Aug 4 (M-F), Instructor: Catherine Carter
Dartmouth Campus, CVPA, Room 357

Even into the 21st century, the work of women artists is often not as well-known as that of their male counterparts. This course focuses on the careers and artworks of four women, all of whom are primarily recognized for working non-representationally: Helen Frankenthaler; Elizabeth Murray; Joan Snyder; and Alma Thomas. The instructor will give a detailed biographical presentation on each artist, followed by a group discussion of their unique approaches and philosophies. We will then practice a series of techniques using materials related to each artist’s particular way of working (Frankenthaler: process-oriented, non- traditional application methods; Murray: bold shapes in response to everyday objects; Snyder: journalistic collage incorporating tactile textures; and Thomas: colorful patterns reflecting the landscape). With this preparation, participants will then create a project inspired by each artist. 

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