Junior year, undergraduate coursework delivered during the 15-week/15-credit study abroad semester at PASCA was accredited through Pacific Northwest College of Art in Portland, Oregon. Courses satisfied National Association of Schools of Art and Design requirements for 300 level studio, art history/critical studies and French culture and language classes.
Each term the curriculum had these potential course options:
• A 2-D studio (can include painting, drawing, print) • A 3-D studio (can include sculpture, installation, site work) • A 4-D studio (time-based strategies that may include video, performance, photo, digital) • An Art History/Critical Studies offering • French Culture and Language study • Two five-day faculty-led cultural site seminars, to Paris/Berlin and either Venice in Biennale years, or Madrid/Barcelona, or London ].
A shorter summer session was available as well. The campus included studios, exhibition spaces, IT labs, and libraries. Students visited the contemporary art scenes of Paris, London and Berlin.
In partnership with CIAC-Pont Aven, the school hosted and sponsored a wide range of contemporary art exhibits, solo, duo, and group exhibitions by an international cohort of professional artists. During the school's history, 132 faculty taught art history, studio art, and more. This is not a complete list, Ann Albritton, Bob Alderette, William Anastasi, Mikki Ansin, Olive Ayhens, Derek Bacchus, Ray Beldner, Barbara Bernstein, Leo Bersamina, Danielle Blin-Daniel, Leslie Bostrom, Caroline Boyle-Turner, Dove Bradshaw, Susan Brearey, Harvey Breverman, Pegan Brooke, Hedwig Brouckaert, Marilyn Brown, Donnamarie Bruton, Carine Charof, Hollis Clayson, Dawn Clements, Dennis Congdon, Jay Coogan, E.G. Crichton, Cynthia Crosby, Nan Curtis, Nancy Dasenbrock, Stuart Diamond, Kenneth Dingwall, Susan Doyle, Laurence Dreiband, Dana Duff, David Eckard, Wendy Edwards, Dahlia Elsayed, Dale Emmart, Julie Evans, Melissa Ferreira, Mike Fink, William Flynn, Megan Foster, Tom Francis, Peter Frank, Chris Gander, Jeffrey Gibson, Marcin Gizycki, Barbara Grad, Nana Gregory, Nade Haley, Michael Hall, Siegfried Halus, Mary Hambleton, Daniel Heyman, Robin Hill, Kirsten Hoving, Holly Hughes, Marc Jacobson, Carl Johnson, Roy Johnston, Clint Jukkala, Claire Kerrisel, Sharon Kivland, John Klein, William Kofmehl III, Victor Kord, Naomie Kremer, Winifred Lambrecht, Julie Langsam, Horatio Law, Ellen Lee, Fabienne Le Gall, Susan Lichtman, David Lloyd, Kathleen Loe, Pam Longobardi, Amy Lovera, Nancy Macko, George Magalios, Marlene Malik, Pam Marks, Barbara McBane, Ann McCoy, Bryan McFarlane, Jerry Mischak, David Morrison, Richard Nickolson, Andrew Nixon, David Oates, Maureen O'Brien, Rune Olsen, Paul Paiement, Sejal Patel, Bryan Panks, Hearne Pardee, Dushan Petrovitch, Sally Pettibon, Pierre Picot, Lennie Pitkin, Lori Precious, Robin Quigley, Anne-Julie Raccoursier, Andrew Raftery, Robert Reed, Donald Schule, Tim Segar, Duane Slick, Joan Snitzer, Dean Snyder, Ann Sperry, Bruce Stiglich, Joanne Strykerz, Jay Stuckey, Agnieszka Taborska, Holly Tempo, Belinda Thomson, Sylvia Toux, Meg Turner, Sam Walsh, Arnold Weinstein, Ted Weller, Gina Werfel, Jo Whaley, Elizabeth Whalley, Barry Whittaker, Yvonne Williams, Susan Working, Al Wunderlich, Christy Wyckoff, Melanie Yazzie, and Muriam Zegrer,
Eighteen years of over 800 enrolled students produced end-of-semester group art exhibitions, where between 10 and 20 students per semester showed work, every 5 to 15 weeks of every year.
Art colonies are organic congregations of artists in towns, villages and rural areas, who are often drawn to areas of natural beauty, the prior existence of other artists, art schools there, or a lower cost of living. They are typically mission-driven planned communities, which administer a formal process for awarding artist residencies. A typical mission might include providing artists with the time, space, and support to create, fostering community among artists, and providing arts education, including lectures and workshops.
The Wexner Center for the Arts is the Ohio State University's "multidisciplinary, international laboratory for the exploration and advancement of contemporary art."
The Pacific Northwest College of Art (PNCA) is an art school of Willamette University and is located in Portland, Oregon. Established in 1909, the art school grants Bachelor of Fine Arts degrees and graduate degrees including the Master of Fine Arts (MFA) and Master of Arts (MA) degrees. It has an enrollment of about 500 students. The college merged with Willamette University in 2021.
Pont-Aven is a commune in the Finistère department in the Brittany region in Northwestern France.
Pont-Aven School encompasses works of art influenced by the Breton town of Pont-Aven and its surroundings. Originally the term applied to works created in the artists' colony at Pont-Aven, which started to emerge in the 1850s and lasted until the beginning of the 20th century. Many of the artists were inspired by the works of Paul Gauguin, who spent extended periods in the area in the late 1880s and early 1890s. Their work is frequently characterised by the bold use of pure colour and their Symbolist choice of subject matter.
Samuel Walsh is an Irish abstract artist. He is a member of Aosdána, founder of the National Collection of Contemporary Drawing and is closely associated with the beginnings of EVA International. Born in London in 1951 to Irish parents, he moved to Limerick, Ireland in 1968, where he resided until 1990. He now lives and works in Co. Clare.
SculptureCenter is a not-for-profit, contemporary art museum located in Long Island City, Queens, New York City. It was founded in 1928 as "The Clay Club" by Dorothea Denslow. In 2013, SculptureCentre attracted around 13,000 visitors.
Public Art Fund is an independent, non-profit arts organization founded in 1977 by Doris C. Freedman. The organization presents contemporary art in New York City's public spaces through a series of highly visible artists' projects, new commissions, installations, and exhibitions that are emblematic of the organization's mission and innovative history.
A.I.R. Gallery is the first all female artists cooperative gallery in the United States. It was founded in 1972 with the objective of providing a professional and permanent exhibition space for women artists during a time in which the works shown at commercial galleries in New York City were almost exclusively by male artists. A.I.R. is a not-for-profit, self-underwritten arts organization, with a board of directors made up of its New York based artists. The gallery was originally located in SoHo at 97 Wooster Street, and was located on 111 Front Street in the DUMBO neighborhood of Brooklyn until 2015. In May 2015, A.I.R. Gallery moved to its current location at 155 Plymouth St, Brooklyn, NY 11201.
Henri Eugène Augustin Le Sidaner who was a contemporary of the Post-impressionists, was an intimist painter known for his paintings of domestic interiors and quiet street scenes. His style contained elements of impressionism with the influences of Édouard Manet, Monet and of the Pointillists discernible in his work. Le Sidaner favoured a subdued use of colour, preferring nuanced greys and opals applied with uneven, dappled brushstrokes to create atmosphere and mysticism. A skilled nocturne painter, he travelled widely throughout France and Europe before settling at Gerberoy in the Picardy countryside from where he painted for over thirty years.
The feminist art movement in the United States began in the early 1970s and sought to promote the study, creation, understanding and promotion of women's art. First-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women. They were part of the Feminist art movement in the United States in the early 1970s to develop feminist writing and art. The movement spread quickly through museum protests in both New York and Los Angeles, via an early network called W.E.B. that disseminated news of feminist art activities from 1971 to 1973 in a nationally circulated newsletter, and at conferences such as the West Coast Women's Artists Conference held at California Institute of the Arts and the Conference of Women in the Visual Arts, at the Corcoran School of Art in Washington, D.C..
Elizabeth Adela Forbes was a Canadian painter who was primarily active in the UK. She often featured children in her paintings and School Is Out is one of her most popular works. She was friends with the artists James Abbott McNeill Whistler and Walter Sickert, both of whom influenced her work. Her etchings in particular are said to show the influence of Whistler.
The Manchester School of Painters was formed by a number of disgruntled young vanguard painters in the 1870s. They were deeply influenced by the artist Joseph Knight, who was a successful painter, etcher and photographer. He was the founder member of the Manchester School of Painters. Knight painted how he desired and refused to conform to traditional Art School rules and this appealed to his young admirers. Twice weekly they would all meet up at Knight's studio in York Place behind the Union Chapel in Oxford Road, Manchester to discuss new ways to develop their techniques.
Hugh Bolton Jones was an American landscape painter. He grew up in Baltimore, Maryland, where he received his early training as an artist. While studying in New York he was strongly influenced by Frederic Edwin Church of the Hudson River School. After spending four years in Europe he settled in New York in 1881, where he shared a studio with his brother Francis Coates Jones for the rest of his long life. He was celebrated for his realistic depictions of calm rural scenes of the eastern United States at different times of the year, usually empty of people. He won prizes in several major exhibitions in the US and France. His paintings are held in public collections such as the Metropolitan Museum of Art and the Smithsonian Institution.
Charles Hodge Mackie (1862–1920) was a Scottish artist. He was a co-founder, and the first president, of the Society of Scottish Artists in 1900.
The Talisman is a painting by French artist Paul Sérusier made in 1888, under the guidance of Paul Gauguin at the artist's colony of Pont-Aven in Brittany. Formally known as The Bois d'Amour at Pont Aven, it was called The Talisman and became the starting point and icon of the group of young painters called The Nabis. It was a landmark in early Post-Impressionism, Synthetism, and Cloisonnism. It is now in the Musée d'Orsay in Paris.
The Pension Gloanec was an inn in Pont-Aven, Brittany, France, that was a base for artists of the Pont-Aven School in the last half of the 19th century. It was known for economical but excellent quality food, where the diners served themselves from shared dishes set out on a long table in the dining room. There were few rooms, so most of the artists boarded elsewhere in the town. Its most famous resident was Paul Gauguin who stayed several times between 1886 and 1894. Today the building houses a bookstore, gallery and exhibition space.
William Edwin Atkinson (1862–1926), also known as W.E. Atkinson, was a Canadian painter of landscape, a founding member of the Canadian Art Club in 1907, whose work was influenced by Impressionism combined with aesthetics drawn from the Barbizon school and the Hague School. "He delights in quiet communion with peaceful pastoral scenes", wrote E. F. B. Johnston in 1912.
Georges Rasetti was a French Impressionist and Modernist painter and ceramicist who was born in Paris, France. Rasetti began by being a painter of genre and landscapes. In 1886, he married Céline Chaudet, sister of Georges Chaudet, painter, photographer and art dealer for Paul Gauguin. His son, Georges Estrel Rasetti, was also a painter and sculptor.
Nancy Macko is an American visual artist based in California. She is known for photography, multimedia and installations that explore relationships between flora and fauna, nature and technology, art and science, and matriarchy and social rebirth. Her work is rooted in 1970s feminist models of artmaking that emphasized cooperation, interconnection and themes typically associated with women, such as fertility, nurturance and protection. She has drawn inspiration from disparate sources, including honeybee society, goddess myths, matriarchal cultures, the feminist utopias of science fiction, and mathematical and scientific investigations of the cosmos. In a 2015 review of Macko's exhibition, "The Fragile Bee," Stephen Nowlin wrote, "In various parts an eco-awareness and empathetic appreciation of nature, a feminist allegory and scientific study of symbiotic networks, Macko's poetic engagement with bees is both activist and passionate, and evocative of how tentacles from the ancient memes reach into our present."
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