Tyler offers courses to non-art majors

Students who are not pursuring arts disciplines can now register for classes within the Tyler School of Art.

Tyler’s move to Main Campus has resulted in more changes than the art school’s address – it has provided brand new facilities and opportunities for the school’s students. But starting this summer, the move will be beneficial to students of all disciplines, with new classes available for non-art majors.

The classes being offered are introductory level courses for students who may not be working toward an art degree.

“Since the move to Main Campus, we have more ability to offer courses to more students,” said Tyler School of Art’s Associate Dean Brigitte Knowles.

The classes available to those studying for a bachelor’s of fine arts require students to have a portfolio prepared before admittance into the school, but a different class format and curriculum will enable non-BFA majors to self-register for classes with no previous art background.

“After switching my major out of Tyler, I thought I still wanted to pursue my interest in art but didn’t think that I’d have the chance,” freshman Tanya Oliver said. “I’m excited that I’ll be able to take classes in the art school that won’t be overly challenging.”

Classes will be offered mainly from the craft department, which includes fibers, ceramics, glassblowing and jewelry making.

“Though most of the classes will be first offered from the craft department, we are hoping to be able to expand the program if there is a large interest in the summer and fall semesters.” Knowles said.

While the popularity of the classes is yet to be known, some feel the art school’s attempt to expand will not yield successful results.

Sophomore art history major John Souter said he believes the classes won’t be as advantageous to non-majors.

“Art professors teach to help students individually advance and expand their talent,” Souter said. “Students who aren’t serious and just looking for an easy ‘A’ will take up space and resources from those who are trying to progress.”

Kara Savidge can be reached at kara.savidge@temple.edu.


  1. Tyler offers a class about graphic design in advertsing, but advertising students arent allowed to take it. Maybe Tyler and the school of communications should amke themselves a little partnership.

  2. Perhaps I can interest you in a story.
    I was in the unusual situation of living at Tyler Art School while being enrolled at Temple, because so many of my friends from the Governor’s School of the Arts (a high school scholarship I won for poetry) were there as painters, and they gave me special permission to take some courses of study.
    There was an outstanding artist who was shy and diligent, so evaded the interest of a good many more commercially interested people for example she did pencilwork of wicker and it took her many hours and she looked rather dull at her station, but, trust me on this one, she was impressive.
    One day, the notorious Roger Anliker, who was the devil, the Salvador Dali of the estate, he’d had Warhol as a pupil once, well word got back to me that he’d lit into young Ms. Weisel, and she’d run from the room in tears. I did not have him for a class, but I could not contain myself when I saw him in the lunch room and I presented myself across the table, waiting patiently for him to take notice of my glare. He was bemused and asked me what it was I wanted.
    I said, “someone told me you broke Chris W.’s heart today in a critique”.
    And brother, he bridled, and he looked at me with such anger and fury, then his expression softened and he sighed and he said, “I didn’t understand that at all. I liked that girl’s work. I got lost evaluating what she had done. These other kids, I walk by their art and hear them breath a sigh of relief. They’re the ones who should burst into tears and run from the room. What are they paying me for? They were consoling her in the hall. What you kids don’t understand with all the positive reinforcement you are looking for is the more involved the criticism the higher the compliment.”
    Now, there is, clearly, such a thing as destructive criticism, but I never had to have Prof. Anliker’s point made for me ever again and I certainly have never forgotten.

  3. I have a Gouache by Roger Anliker entitled “Mage” which is dated 1973. It was Shown at “The Renaissance Revisited” 7 OCT – 7 Nov 1982 Tyler Galleries at Temple University.

    Also at a group show at the Rosenfeld Gallery in Philadelphia December 1982.

    The Picture was bequeathed to me in December of 1989. I ejoy this work every day and it is one of my prized possessions.

    I’d like to know more about Roger Anliker and why he was considered the devil?

  4. I have 2 stories about Roger Anliker.
    Once he criticized me for being too aggressive in my drawing. At the time, i was interested in Abstract Expressionism and my figure drawing was done quickly and I forcefully made marks on my paper. He said rudely in front of the class ‘There’s a tall guy drawing aggressively and not paying attention to what he’s doing and he’s going to intimidate the model.’ It seemed like a shaming tactic but it worked. I felt stung. I was definitely pissed off but he did have a point. After that I drew with more consideration and careful observation.
    The second story involved my drawing at a table at Tyler after a class. He may have recognized me–he rarely used people’s names. He wasn’t on the clock and had no obligation to assist me. He gave me a private drawing lesson on the spot. He took a piece of newspaper and proceeded to draw a head in charcoal describing what he was doing on each mark. I could follow his decisions and understand his thought process. He signed it ‘RA’ and gave it to me. It is one of my prized possessions to this day (25+ years later). Was he tough–definitely but I remember these experiences. Some instructors I have no meaningful memories of–but not Professor Anliker!

  5. Professor Anliker taught me everything I know about visual art, as well as literature and other subjects that I was not even there to learn. I received 10 x more instruction for my money than any other teacher at Tyler. He would spend HOURS of his own times on demonstrations and one on one instruction, as well as hours of his own time painstakingly working on the model setup.
    I cherish his notes, the small painting he gave me and the knowledge that he gave me. The Devil? I think not.

  6. “Painting is color, drawing is everything else.”
    Until the day I die, I will remember this maxim from him.
    I have taught it to every one of my students from Pre-K through college.
    He was the epitome of a master teacher.

    • I used that exact quote this week in my freshman drawing class and I reference Roger Anliker more than any other faculty member in my teaching. I do remember his blistering critiques and would not trade them for any weaker experience.

  7. Roger Anliker was great. He was a teacher who gave his all 100% of the time. He taught me the most important lessons I have ever learned in any institution. If Roger was one of your Profs and you actually paid attention…congratulations! You actually learned something.

  8. Hello,

    Re; Roger Anliker

    My dad and Roger served in WW2 together and have kept in touch monthly for nearly 60 years. They have some great stories particularly the time right after the war when they were both selected to study/teach in Biarritz, France.

    My dad is planning to visit Roger around the 2nd week of November, 2012. I read some comments on this site and thought I would encourage any and all to write something so that I can print the letters out and give them to Roger. If you happen to read this after the 2nd week of November, 2012, and you would like to send Roger a note feel free to e-mail anything to me and I will give to my dad to give to Roger.


    John Palmer

    • Roger Anliker changed the way I look at the world and I would just like to say ” Thank you”.

      Trip Becker…BFA Tyler 1969

  9. I remember when I came into his class at Tyler and saw a “still life” set up that covered one entire wall of the studio. At first I anxiously thought I was supposed to draw the whole thing. He said that you could make an art form out of scrubbing the floor. I know a lot of people found him to be intimidating. I don’t remember him “teaching drawing technique.” There were no lighted white shapes with explanations of shadows and values. You fell down the rabbit hole into his wonderland setups and started on your journey. I wish I had photographed one of them. They stayed up for the semester. I felt I must seek to understand, what he inferred should be discovered and mastered. I did one of the most carefully and sensitively rendered drawings of my life, because I felt I must work to my highest potential in his environment.

  10. My wife came upon this strand of comments and read them to me this evening…as I prepare to eulogize a dear friend and remarkable artist whose influence will continue for years to come.
    I had the privilege of studying with Roger and being taught not only the grammar but the poetry of painting.The lessons were specific to the need presented, often followed by several brilliant solutions just to spark your creative instincts. Roger believed that there was a right way to do something and made sure that his students knew it. As a teacher he was unparalleled for his depth and breadth of knowledge as well as his commitment to education.
    Roger Anliker passed on September 25th after a brief illness. I was honored to have been a part of his life as a friend and help to him as the years went by.The art world has said goodnight to another wonderful talent, whose teaching and work will live on.

  11. Roger Anliker was one of the best teachers I’ve ever had, in any subject. He didn’t just teach art, he taught us about life. He gave everything he had to his students. The atmosphere in his classroom was always inspiring. He was there to teach, and he treated us as adults, not as fragile little eggs to be coddled. He was honest and sincere, and didn’t waste our time playing to our egos or his. He was truly “counter-culture” in how he taught – he didn’t worry about what people around him thought. He taught his students the way a caring father disciplines his children: he used his words skillfully to command our attention. He provoked us to question ourselves: how much had we been molded by the contemporary art world and society into creating art that was self-serving? Art was to be something far more than self-expression: it was eternal truths rendered with skill for the edification of the viewer. It demanded self-control, precision, and persistence. Yes, at times, he could be a little intimidating, but it made me try harder as a student. When Roger complimented your work, you knew that you had truly earned his respect, and that meant something.

    Roger showed his dedication to teaching his students in the amount of his time spent outside of class. How many hours did he spend setting up his magnificent still-lifestage to inspire and teach us, and compilng his mysterious "file room" filled with samples of his own artistic experiments? (He often reminded me of Jeremy Brett's rendition of Sherlock Holmes.) How empty and barren were the dirty white walls of that room after he retired and it had been removed. If a student had a question about anything, he would selflessly give of his time (after class) to answer and demonstrate. These were precious times, because he would "lose himself" in details and storytelling, producing beautiful images with what ever he had on hand: chalk, pastel, a scrap of paper, charcoal dust on the table. Sometimes nearly an hour had gone by when he'd realize that he'd missed his lunch and had another class to run to. When it came time for our last critique of the semester, he'd spend an hour with you, with each student, and he would find something positive to say about everything you had struggled with.

    He had a magnificent mind; being in his presence during his lectures was mind-expanding and elevating. He taught processes that aren't taught anymore, not because they are obsolete, but because many called teachers don't know or share these things anymore, and what they do know they hide like a hand of cards. He continually drew and painted in front of us, something else that very few teachers do. He demonstrated how an artist must be self-disciplined with his thoughts, skills, and time. He challenged his students' ways of thinking, and those who were willing to listen were awakened. He offered up to us a lifetime of his own experiences, and shared his own highs and lows with humor. He was like a aged monk that one goes to, to learn about life and oneself.

    I will always remember and be grateful to God for Roger.
    May his memory be eternal.

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