Scripps College (The Art Department)

The Art Department offers a wide range of courses including book arts, ceramics, digital art, drawing, mixed media, new media, painting, photography, printmaking, sculpture, and video. Courses foster self-expression while recognizing that in the visual arts, as in life, art forms are not isolated objects or events and that self-expression can give way to social discourse. Students are encouraged to explore their personal visions while recognizing that questions of difference have greatly affected our understanding and interpretation of visual culture.


A History of the Art Department

The leading proponent of Southern California Regionalism was Millard Sheets. As early as 1930 Sheets' work received national recognition; critic Merle Armitage, writing in The Art Digest, said of Sheets: "Here is a man who can paint Southern California without banality and sentimentality, who gives you the strength and brilliance which the landscape of Southern California really has." (Merle Armitage, Record, L.A., n.d.)

And critic Arthur Millier said in The Los Angeles Times, "At 22, Sheets is an unparalleled phenomenon in the art world of Southern California... He paints in oils, is an consummate watercolorist, etches, makes lithographs, does... murals, and is in demand as an architectural renderer... a host of youthful artists and students look to him as their ideal and example..." (Art Digest, October 1930, p.7)

During this period Sheets formed his ideas as a Regionalist. On a trip to Europe in 1930 he confirmed his view that art should be a public rather than a private expression, and his taste inclined toward representational over abstract art. Although he came into contact with Cubism and German Expressionism, what he admired were the paintings of the Early Italian Renaissance and the Dutch Baroque masters. In New York, where he stopped on both ends of his trip, he was impressed by the nineteenth-century American realist paintings of Winslow Homer and the new Regionalist works of Thomas Hart Benton. Like Benton, Sheets was insterested in painting the rural world he knew in a style that the public could understand. During this time Sheets also developed the belief that the artist has a social responsibility to educate the public. This idea had been expressed in the twenties by the art critic Merle Armitage (who in 1935 wrote a book on Sheets) in an essay entitled "The Aristocracy of the Arts." In this essay Armitage said that artists belonged to an aristocracy whose calling was to service.

In the next twenty years Sheets put his Regionalist beliefs into action as an artist, arts administrator, and educator, displaying a combination of ambition and energy that was formidable. During the thirties he exhibited his sumptuous landscapes celebrating the idyllic beauty of Southern California in exhibitions throughout the East and Midwest. In 1934 he served as a Regional Director of the Federal Art Project in Southern California, organizing artists to produce paintings, sculpture and crafts as part of a national artists' reflief program during the Depression. At the same time he developed a career as an educator. After teaching in the late twenties at Chouinard in Los Angeles, he moved to Claremont in 1932. This move was, in effect, coming home for Sheets, who had grown up in the rural Pomona Valley. The Depression was a compelling reason for him to take a steady job, but Scripps was attractive to Sheets for other reasons. Encouraged by his high school art teachers, he has chosen Chouinard over Pomona; so his faculty appointment was a way to return to the academic environment he had missed in art school. At Scripps he built an art department and fostered the development of an arts community in Claremont.

Claremont

Claremont was one of several arts communities that flourished during the Depression when Regionalism shifted attention from America's cities to its outlying towns. In California the artistic community in Laguna Beach, which had formed in the teens by artists in the "Eucalyptus School" (the local artists who painted the arroyos and beaches of Southern California in pastel hues), expanded in the thirties. But Claremont did not emerge as an art center until the thirties when Sheets arrived. David W. Scott, Director of the National Collection of Fine Arts in Washington D.C. from 1964-69, who studied under Sheets at Scripps in 1933 and later returned to teach art history and head the art department, said of this period:

There was an explosion of art activity in Claremont during the thirties, forties and early fifties which had a great impact throughout Southern California and, in addition, some significant effects nationally. Two forces, in particular, set this in motion: first, the liberal, humanistic philosophy which brought a unique spirit to Scripps at its founding and was embodied particularly in the creative enthusiasms of Professor Hartley Burr Alexander, who influenced the young Millard Sheets; secondly, Millard himself, amazingly dynamic, enthusiastic, gifted and versatile. (letter to Mary MacNaughton from David W. Scott, 21 June 1987)

Art Department Beginnings

Soon after his arrival at Scripps in 1932, Millard, who was only twenty-five years old and the only art instructor, began to build the art department. At the suggestion of Scripps President at the time, President Jaqua, Sheets organized a foundation to support the fine arts at Scripps. At the second meeting of the Fine Arts Foundation Sheets' plea for a new art building attracted the attention of Florence Rand Lang, who later sent a certified check for $38,000. This was the first installment of funds for an arts complex of studios and galleries, which was built in three stages between 1937-39 (now where the Mallot Commons is located).

The Early Faculty

Sheets attracted a faculty to Scripps that made Claremont into a lively arts center. In 1935 he brought William Manker, a successful potter, to set up a ceramics department at Scripps. During the war years, architecture was taught by Charles Brooks and Whitney Smith; after the war, they were succeeded by Ted Criley. In 1939, Albert Stewart, a prominent sculptor from New York, joined the faculty in sculpture. In 1940 Jean Goodwin Ames, an accomplished muralist, began teaching design. In 1943 Sheets added Henry Lee McFee in painting and, in 1948, Richard Petterson in ceramics. Sheets also set up a program in weaving, first taught by Mary Easton Gleason, then by Marion Stewart. In 1950 Phil Dike, another leading Southern California Regionalist painter, joined the faculty in painting. Sheets also attracted other Regionalist painters, such as Rex Brandt and Phil Paradise, as visiting artists. In addition, he brought in other artists, such as James Chapin and Sueo Seriwasa, for short-term appointments. During this time there were also the talented typographers and book designers Ruth Thomson Saunders, Ward Ritchie, and Joe Foster, who were not on the art faculty but who contributed to the arts at Scripps.

Sheets expanded the awareness of art not only among college students but also the general public. From 1931 to 1956 (with a break during World War II), he organized major at exhibitions for the Los Angeles County Fair in Pomona, which each year introduced thousands of Southern Californians, many of whom had little exposure to art, to the works of some of the finest artists and craftsmen in Southern California.


Areas of Study

* Ceramics

Ceramics at Scripps is part of a progressive, contemporary art department with strong ties to other fields of study on campus. It is at once firmly grounded in ceramic history and technology, while operating in the larger context of the contemporary fine art world. With an emphasis on material exploration, experimentation, conceptual development, and craftsmanship, students are encouraged to discover their unique voice and aesthetic.
A History of Ceramics at Scripps

The ceramics program was one of the first in Scripps' Art Department. William Manker, a successful Southern California potter, was hired to the faculty in 1935 by Millard Sheets. Manker, like Sheets, studied at at Chouinard under F. Tolles Chamberlin. After graduation he began as a designer with Ernest Batchelder, one of the leaders of the Arts and Crafts movement in California. After the business closed its doors during the Depression, Manker opened his own studio. In 1932 he set up William Manker Ceramics, making low-fire ceramics that he sold to regional stores and galleries. As his business grew he hired assistants to slip cast his works. Manker was a prolific artist, producing functional pottery of earthenware in elegant and refined forms with colorful glazes.

Three years later Manker began at Scripps, and was in charge of setting up the ceramics department. The ceramics department was first located inthe basement of Dorsey Hall, the only available space. Soon after he opened a second studio for his own work at Padua Hills. He learned wheel throwing from Gertrud Natzler, a Viennese artist who had left emigrated from Austria at the beginning of the war with her husband, Otto Natzler, in 1938. The next year Manker began producing his own wheel thrown work, but the majority of his work at Scripps was cast.

From 1940 to 1945 Manker taught at both Scripps and the Claremont Graduate School. He also began what evolved into the Scripps Ceramic Annual exhibitions, which continue today. Manker left Scripps to pursue his career as a designer.

Manker was followed by Richard Petterson in 1948. Petterson was born and raised in Tiensien, China and became interested in his mother's collection of Chinese ceramics at an early age. After attending Pei Yang University, he came to the United States and enrolled at UCLA, where he studied where he studied design and crafts. After graduation he taught at Pasadena City College, and directed the summer art and craft program at the University of Chicago from 1941-46. In 1947 Sheets saw Petterson's ceramics at the Pasadena Art Museum and invited him to join the faculty at Scripps and CGU.

While at Scripps Petterson introduced newly designed wheels, moving the focus to wheel-throwing rather than casting. He also began a move from low-fire earthenware to high-fire stoneware and porcelain. Petterson stimulated students by bringing eminent potters to the college, such as Bernard Leach, Shoji Hamada, and Antonio Prieto, for lectures and demonstrations. He also encouraged his students to study with Marguerite Wildenhain at her Pond Farm studio. Petterson introduced his students to reduction firing, and exposed his students to the Scandanavian tradition of ceramics. He encouraged collaborations between artists (students and faculty), who gathered at the ceramics studio to work on pieces together. Petterson left Scripps in 1957 to head the AID program in the arts in Taiwan. In 1960 he returned to Scripps as Director of the Lang Gallery.

In the sixties the department, begun by Manker and expanded by Petterson, was brought to national status under the direction of Paul Soldner. After serving as a medic in World War II, Soldner began his career teaching art in the public schools of Ohio, where he grew up. In the early 1950's he returned to school for a Masters degree in Art Education. It was while working on the Master's at the University of Colorado in Boulder that he first got a taste for ceramics, in an elective course offered by Katie Horsman, a visiting artist from Scotland. After asking James McKinnell, a potter who had met at Boulder, where he should continue his education, he settled on Otis College in Los Angeles, where he was Peter Voulkos's first student. Soldner spent two years at Otis, helping start the new ceramics program there, and beginning what became a lifelong interest in building ceramics equipment. After graduating from Otis, Paul was offered a temporary teaching position at Scripps, to fill in for Rick Petterson while he was on leave for one semester. One semester gradually became a year, which eventually turned into three years.

In 1960 Petterson returned, but stepped down from the ceramics department to become Director of the Gallery. Soldner, who had just returned to his home in Colorado he was building with his wife, Ginny, was asked to return to Scripps to accept the position of Professor of Ceramics. He accepted, and for the next thirty-five years Soldner taught half the year, inviting other ceramic artists to teach the other semester, while he concentrated on his artwork in Colorado. With Soldner's return to Scripps a golden age of ceramics began, during which the studio bustled with energy and activity day and night. Bill Gilbert, an artist and former student of Paul's, states:

"Paul taught by doing. His doing became the ethic, and you maintained your place in the studio by doing. Any stone not rolling was swept aside or buried. He worked in front of us, with us. It wasn't the lectures that mattered, though he certainly knew his stuff. The demonstrations were great. Paul is above all else a performer. The ole rope in the pot trick was a good one and who will ever forget throwing-as-striptease, but the real deal was that he made his work right there in the same studio with all of us. He put himself: his method, his body, his knowledge, right out there in front of you and we learned by watching, not listening."

Soldner is world renown for his techniques with low salt firing and Raku ware. He developed and manufactured a line of ceramic equipment, including very popular wheels and mixers. Though he retired from Scripps in 1992, Paul Soldner still exhibits and performs workshops worldwide. His work is can be viewed in every major U.S. Museum, including the collection at Scripps College.


* Digital Art

The Digital Art Program is devoted to creating original work in digital imaging, digital photography, digital video, motion graphics, desktop publishing, and web design with an emphasis on women, art and technology. The program provides a basic foundation in digital art to women in particular, enabling them to go on to careers in multimedia and web production.
A History of Digital Art at Scripps

The Digital Art Program at Scripps College is part of the Studio Art Department in the fine arts division. The program was established by Professor Nancy Macko in 1990 and she continues to direct it today. At that time the program was housed in a classroom in the Humanities Building. There were three Mac computers surrounded by 15 IBMs.

Since 1995 the computer art lab has been located in Lang Studios of the Millard Sheets Art Complex. The lab contains ten Macintosh Intel workstations, complete with the latest image, video, and audio editing software and other auxiliary equipment. The curriculum has also evolved in response to student interest, software development and market demands. Where we once relied upon simple imaging software programs like CricketDraw and SuperPaint for creating digital images, we now work with sophisticated state-of-the-art and commercially viable software such as Adobe Photoshop and AfterEffects, Quark Xpress, Dreamweaver, Flash and FinalCut Pro.

In 1998, we established the ARThive, a digital archive that houses the Scripps College Computer Art Archive—a database of over 1200 images created by students during the early years of the Scripps College Digital Art Program, 1990-1998—as well as student work from digital art classes from 2000 to the present.

In 1999 Professor Tran,T. Kim-Trang joined the art department. Her expertise in motion graphics, digital video and web animation has enabled us to create a very strong program in the department of art at Scripps that allows us to work digitally with photography, film, video and print.


* Mixed Media

History of Mixed Media at Scripps

James Fuller received his M.A. from the University of California, Berkeley in 1953 and taught painting, drawing, sculpture and printmaking at several schools including the University of California, Berkeley; California State University, Los Angeles; the University of California at Davis; the Laguna Beach School of Art, and since 1967, Scripps College. James Fuller has been the recipient of numerous awards, and participated in solo shows throughout California.

Paul Darrow, a Pasadena native, was Professor of Art at Scripps College and the Claremont Graduate School, where he taught Mixed Media and Advanced Drawing for over 30 years (c. 1950-1980). He was educated at Colorado Springs Art Center and the Claremont Graduate School, and was one of the founders of the Los Angeles Printmaking Society. He was head of the Printmaking Department at Scripps and CGS for many years.

Marion Stewart grew up in New York City and was educated at Vassar College. She was teaching al Dalton School in Manhattan when she met Albert Stewart in 1938. In 1939 she married Albert and moved to Claremont, where he had accepted a teaching appointment at Scripps. In 1944 Marion joined the faculty as an instructor in weaving and textile design.

Marion remained at Scripps until 1971, teaching weaving. During this time she exhibited her weaving at many competitions, winning awards at the Los Angeles County Fair, and exhibiting at the American Federation of Arts, the Museum of Contemporary Crafts in New York, and the M.H. de Young Memorial Museum in San Francisco. She also received many private commissions for homes in Claremont, Pasadena, Beverly Hills, and New York.

Susan Rankaitis, the Fletcher Jones Chair in Studio Art has been responsible for mixed media classes since the retirement of Paul Darrow in 1992. In addition, she teaches the senior seminars in Art at Scripps .


* Painting and Drawing

The first official Professor of Drawing and Design at Scripps College was Jean Goodwin Ames. Born in Santa Ana in 1903, Jean Ames first studied at the Art Institute of Chicago, and UCLA (B.E. '31). Ames worked in ceramics and mural decoration during this period, and taught art at the high school level. In 1937 she returned to school for a M.F.A. from USC. At USC she also met her future husband, Arthur Ames, with whom she had a lifelong artistic collaboration.

After USC, Arthur and Jean joined the mural division of the W.P.A. and were among the first to use mosaics in California. In 1940 Jean was appointed by Millard Sheets to the faculty of Scripps and the Claremont Graduate School. While at Scripps Jean and Arthur (who was a professor of design at Otis Art Institute) began working in enamels, setting up a kiln for copper enameling in the ceramics studio. Jean's subjects were often whimsical and her style influenced by Scandinavian design, which was popular at the time.

Jean taught at Scripps and CGU until 1969. She was the recipient of numerous awards, and was selected as Woman of the Year in Art by the Los Angeles Times in 1958. Her work can be seen around the campus, including the drawings in the lobby of Human Resources and the Dance of Destiny tapestry triptych by Jean and Arthur Ames in the lobby of the Garrison Theatre.

In 1950 another drawing Professor arrived at Scripps: Paul Darrow. A Pasadena native, was Professor of Art at Scripps College and the Claremont Graduate School, where he taught Mixed Media and Advanced Drawing for over 30 years (c. 1950-1980). He was educated at Colorado Springs Art Center and the Claremont Graduate School, and was one of the founders of the Los Angeles Printmaking Society. He was head of the Printmaking Department at Scripps and CGS for many years.

The Painting Department

Millard Sheets was Director of Painting at Scripps from 1936 to 1955. He was born in Pomona in 1907, and studied at the Chouinard School of Art before joining the faculty at Scripps College. He was simultaneously Director of Fine Arts Exhibition at the Los Angeles County Fair from 1931 to 1956. In the following years he was artist-correspondant for LIFE Magazine and Director of the Otis Art Institute.

In addition to his painting, Sheets has also created over 100 murals and mosaics. He has had an impressive career in architectural design as well, including designing the Home Savings and Loan Buildings throughout California. Many of Millard Sheets's drawings, paintings, and prints are in the art collection at Scripps College. For more on Millard Sheets, see the department history.

Henry Lee McFee was born in Missouri in 1886, and received his first formal art school training at the School of Fine Arts in St. Louis. In the summer of 1909 he studied at the Art Students League in New York, which led to McFee's introduction to Cézanne, which influenced his work throughout his career.

In the teens McFee became one of the first American painters to create cubist-inspired paintings. These works ended around 1923, when a more mature style, influenced by the work of Cézanne, developed. Throughout the twenties and thirties McFee taught at the Art Student's League. During this time McFee began working in realism, which he continued to explore for the rest of his career.

McFee moved to California in 1940 where he taught summer shcool at the Claremont Graduate School and then at Chouinard in Los Angeles. After receiving a Guggenheim grant in 1940, McFee came to Claremont in 1943 to join the art faculties of Scripps College and the Claremont Graduate School. He made his home in Claremont until his death ten years later. His still lifes, which were a prevailing theme during his career, reflected the plants and settings of the region.

A nationally exhibited painter, his work is hung in the permanent collections of museums around the United States, including the Metropolitan Museum of Art, Whitney Museum of Modern Art, the Brooklyn Museum, and the Pennsylvania Academy of Fine Arts. Medals from the Paris Salon, the Pennsylvania Academy of Fine Arts, and the Virginia Museum of Fine Arts are among the numerous awards won by McFee paintings. The Scripps College Ruth Chandler Williamson art gallery has eighteen McFee paintings.

Phil Dike was born in Redlands, California in 1906. He studied at Chouinard School of Art (where he met Millard Sheets) from 1924-28, and the Art Students League in New York (1929). He was influenced greatly by Clarence Hinkle at Chouinard, who painted outdoors directly on the canvas.

In 1929 Dike became an instructor at Chouinard, but ended up leaving for Europe the same year. After spending two years travelling and sketching Dike returned to Los Angeles in the middle of the Depression. His work at this time began to reflect the beach and striking sunlight of southern California, subjects that continued through his career.

In 1933 Dike became color coordinator and story designer for Walt Disney Studios, where he worked until the end of World War II. During this time he continued his own painting, and in the thirties Dike emerged as a leading figure in the Southern California Regionalist movement. In 1950 Sheets invited Dike to join the faculty of Scripps College and the Claremont Graduate School. He taught advanced painting until retiring in 1971. Phil Dike was a leading member of the California Water Color Society, and co-founder of the Brandt-Dike Summer School of Painting in Corona del Mar. The mural at the Scripps College pool was created by Phil Dike in the 1960's.


* Photography

The Scripps photography program is designed to give students the skills necessary to create, interpret and analyze photographic images. Courses emphasize technical, conceptual, and critical uses of photography while acknowledging photography's changing role in contemporary culture. The analysis of photographic images is increasingly part of an ever-growing number of academic disciplines; Gender and Women Studies, Media Studies, Cultural Studies, the fine arts, humanities, and sciences have all contributed to the study of photography, and photography has inspired scholars and students to take on new areas of research.

Whether considering an abstracted form taken from nature, the working conditions of sweat-shop, an ethnographic image from the nineteenth century, a mug shot, or a pin-up, photography is no longer a narrow artistic (or scientific) field but part of an ever-expanding fascination with the human experience.

Most importantly, the analysis and production of photographic images allows students the opportunity to develop their own intellectual and artistic voices within an academic community that is as sensitive to their concerns as it is demanding of their excellence.

The Photo Lab

The photo lab is available to students 24 hours a day, and it is not uncommon to find students working till the early morning hours just before a group critique. The darkroom and lab facilities offer a full range of black and white photographic processes, and students are expected to develop, print, spot, and prepare the work for exhibition -whether that requires cutting traditional window mats, or creating a site-specific installation. Students do pay a lab fee for the course, and this fee provides them will all the chemicals they can use, and equipment check-out privileges. Students must pay for their own paper and film.

Equipment Check-Out

Photography equipment can be checked out from Scripps' Audio Visual office, and they have a number a 35mm, medium format Hasselblat, and large format cameras as well as strobe and hot light kits. Backdrops, tripods, and hand-held light meters are also available to students enrolled in Scripps courses. Studio Art classrooms can be used for photo shoots when classes are not in session.


* Printmaking

Scripps Department of Art and Art History offers a dynamic range of courses in digital and analog printmaking.

In the digital lab, art concentrators work on state-of-the-art design and digital-imaging work stations, and have access to a large-format inkjet printer. 2D digital courses combine digital photography, graphic design, and web publishing. Students interested solely in digital imaging collaborate with students in traditional media (drawing, painting, photography) who want to use the computer to aid other artmaking processes.

In the printroom, Scripps is equipped for a range of relief, intaglio, and silkscreen techniques, and has a medium-format Whelan press. The lab is principally non-toxic, though students work primarily with oil-based inks. Across the corridor is Scripps’ letterpress studio.

Concentrators interested in printmaking are encouraged to work between analog and digital processes. The area stresses experimentation with image making and inspires art concentrators to work within and across the divide between traditional and new media.

History of Printmaking at Scripps

Paul Darrow, a Pasadena native, was Professor of Art at Scripps College and the Claremont Graduate School, where he taught Mixed Media, Printmaking, and Advanced Drawing for over 30 years (c. 1950-1980). He was educated at Colorado Springs Art Center and the Claremont Graduate School, and was one of the founders of the Los Angeles Printmaking Society. He was head of the Printmaking Department at Scripps and CGS for many years.

James Fuller received his M.A. from the University of California, Berkeley in 1953 and taught painting, drawing, sculpture and printmaking at several schools including the University of California, Berkeley; California State University, Los Angeles; the University of California at Davis; the Laguna Beach School of Art, and since 1967, Scripps College. James Fuller has been the recipient of numerous awards, and has participated in solo shows throughout California.

In 1986 Nancy Macko joined the Scripps College art department to teach printmaking and a new area of focus for Scripps —computer graphics. Under her leadership the printmaking facility was moved to Lang in 1995, where it joined the other art studios.


* Sculpture

Sculpture at Scripps introduces students to a variety of materials and techniques while addressing and exploring various models indicative to current sculptural practices: site, context, time, implementation of new media, process, aesthetics of the object, and relationships to the body. Topics covered include but are not limited to: conceptual development, structural principles, communicative possibilities of materials and physical forms, history and safety.

Over the course of the semester, students expand their comprehension of contemporary theory and technique, and learn to translate sophisticated concepts, content and emotions into three-dimensional forms.

History of Sculpture at Scripps

Albert Stewart was born in Kensington, England in 1900. He displayed an early talent in drawing, and an interest in animals as subjects. In 1908 he moved to the United States with his grandfather, and took up sculpting in 1918. After serving in the RAF during World War II he returned to the United States and studied art at the Beaux Art Institute of Design and Art Students League. He worked as an assistant to his mentor, Paul Manship, from 1925-30. Manship was a leading Ameican proponent of the archaic trend in modern sculpture, and his influence has a formative effect on Stewart's work.

Stewart experienced success early; after his bronze bear Silver King was acquired by The Metropolitan Museum of Art in 1925 he received several commissions for monumental architectural sculpture. Among these were the stone dolphin sculptures for the Seamen's Memorial in New York City, 1930, and the pediment sculpture for the Department of Labor in Washington, D.C., 1935.

Stewart was recommended to Millard Sheets and President Jaqua when they were looking for a sculptor for the art department at Scripps. They brought Albert Stewart to Claremont in 1939 to teach Humanities and sculpture. As a teacher he took a traditional approach to sculpture, insisting on anatomical correction, and simplification of form. Several works by Stewart stand on the Scripps campus: Man and Nature (1965) can be seen in front of the Humanities building, Eternal Primitive (1965), a mother and child, is situated in the Margaret Fowler garden, and the bronze fawn that drinks from the fountain in the Chinese garden to the west of the Mallot commons (1952).

Albert Stewart was nationally known as a sculptor of animal figures and architectural sculpture. He worked in all media - stone, bronze, and wood. He was the recipient of numerous art awards, and was commissioned to sculpt many public buildings, coast to coast.

Aldo Casanova became Professor of Sculpture at Scripps College in 1966. Casanova received his B.A. and M.F.A. at San Francisco State University, and his Ph.D. from Ohio State University. Among many honors and awards was the Lewis Comfort Tiffany Purchase Award in 1970 and the Prix de Roma, in 1958-1961. In 1975, Casanova was Sculptor-in-Residence at the American Academy in Rome. His work is included in major collections, including the Whitney Museum of Art, the Hirshhorn Collection in Washington, D.C., the San Francisco Museum of Art, and the U.C.L.A. Sculpture Garden. Aldo Casanova became Professor Emeritus in 1999. Several of his works can be seen around the Claremont campuses, such as the bronze at the south end of Jacqua Quad.


* Video

The Scripps Video program enables students to create and analyze video works in various genres and their hybrids. Experimental video as well as video's relationship to mass media and popular culture are a special focus of the program. Students' individual as well as collective intellectual inquiries, artistic explorations, and emotional examinations develop within a challenging and sensitive environment that encourages risk-taking and exchange.

Interdisciplinary engagement with video as documentation, essays, art, and narratives is well established in diverse fields of study. As a technology, video is not quite old and not quite new. From this optimal position combined with its pervasiveness, immediacy and capacity to represent the real to the very abstract, video is a powerful communication and expressive medium with an immense impact on society.

Courses emphasize formal, conceptual, and critical uses of video as the medium evolves in contemporary culture. Video shares computing resources for post-production (an Art Lab of ten Mac workstations equipped with the latest image, video, audio and web software) with the program in Digital Art and has dedicated digital production equipment housed in the Scripps Audio/Visual Office for check-out. Additional resources are shared with the Intercollegiate Media Studies Program and Pitzer's Media Studies Production Office.

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