Undergrads reflect on schools' visual arts

With thousands of aspiring lawyers and premed students graduating each year, it’s easy to forget about the visual arts majors in our midst. Although they are few, the visual arts departments at both Columbia and Barnard have worked hard to provide these aspiring artists with the tools they need to succeed.

“Our size is definitely an advantage,” Professor Thomas Roma, the newly appointed director of the undergraduate visual arts curriculum at Columbia University, said. “Big programs are usually much less flexible.”

Professor Joan Snitzer, Director of the Barnard Visual Arts Program, agreed. “We have about thirty visual arts majors here, which is more manageable than most art schools. Students have a close individual exchange with faculty and we were even able to organize a trip to Berlin last year. There’s an intimacy here you just won’t get in a bigger program.”

Despite relatively small visual arts programs, Columbia and Barnard’s art departments differ in both style and philosophy. Columbia’s visual arts program is grounded in the Core.

“We believe in the Core,” Roma said. “And we strive to offer courses that fit in with the undergraduate curriculum at Columbia.”

At Columbia, students can study visual arts and have the option of doing a combined major in art history. At Barnard, visual arts is a concentration within art history.

“It did not seem right to have a huge technique based program,” Snitzer said. “So our program is definitely more idea-based than skill-based. Our graduates leave knowing the foundations of modern and contemporary art along with having the skills to get into a good graduate school and become artists.”

Barnard only has an undergraduate program, meaning that there is added intimacy between students and professors, and that resources are directed towards undergraduate use. However, as Roma said, there are also benefits to a graduate program, namely, advice and mentorship from graduate teaching assistants for undergraduates.

But despite these differences, Columbia and Barnard have one thing in common: New York City.

“Most of our art majors have had a significant internship in the city,” Snitzer said. “New York City helps the students realize how the art industry works.”

“In New York City, we are surrounded by art and benefit tremendously,” Roma said. “Also, our faculty is mostly homegrown. They didn’t leave behind their inspirations to come here.”

Morningside Heights has attracted its share of students. Carolyn Lucey, CC ’13, had also been admitted into Rhode Island School of Design, one of the preeminent arts schools in the country. However, after an agonizing decision, she ultimately decided to attend Columbia.

“I knew I wanted to interact with students who were passionate about a lot of things,” said Lucey. “My art is often inspired by ideas as diverse as a conversation about biology or poetry. Columbia has some of the smartest and most diverse people in the country.”

Aspiring painter Jessica Cohen, BC ’10, was also drawn to this community.

“They give you a lot of freedom and let you do what you want,” Cohen said. “I feel that Columbia’s department is much more structured, which is good in the beginning, but when you know what your vision is, it can be a little frustrating.”

But every program has its setbacks, and the visual arts department is no exception.

“We have major space issues,” said Roma. “However, we are resourceful with what we have, and with our move to Manhattanville, we will have more space to work with.”

Even the students would like to change a few things about the visual arts program.

“I could definitely use a much bigger focus on digital media,” said Amanda Benavides, CC ’10.

“As someone who has trained in the arts extensively, it’s frustrating and limiting to be required to take beginner level classes with students who don’t consider art a serious commitment,” said Lucey.

But despite these kinks in the visual arts department, both Barnard and Columbia are taking steps to adapt their respective programs. For example, Roma and others are currently auditing every undergraduate class and practice.

“It is foolish to predict the future of the visual arts program since the way people experience art is constantly changing,” said Roma. “Our goal is to remain responsive to these changes.”