Contemporary Practices: Courses

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

The continuation of Core Studio Practice I.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Orienteering, mega ramps, cheese rolling, and hooliganism are four of the innumerable ingredients that make up the Wide World of Sports. Studio projects in this class will evolve from a critical gaze at the social phenomena and structural elements of Sport from its origins up to the current moment. Sample sub-topics include: competition, scandal, escapism, stamina, the amateur, the extreme, and the virtual. Throughout the semester students will be challenged to research as spectators and players, analysts and commentators while developing work in any medium for a variety of presentation contexts. Projects like Paul Pfeiffer's The Four Horsemen of the Apocalypse, Janice Kerbel's Ballgame, Brian Jungen's Prototypes of New Understanding, Matthew Barney's Drawing Restraint, Wim Delvoye's Goals, Hans van Der Meer's European Fields, Florian Riviere's Don't Pay, Play, and the collective works of the Costacos Brothers will be introduced as springboards for discussion and studio projects.

With America in its 7th year of war, a recession that could ignite into class war, and a globe on the verge of melt down, something has to change. Will it change for the better? What ever happens it won't be because you didn't try to make a difference. This course explores the problems that confront us and examines strategies for the creation of works that raises awareness and incites change at a grass roots level.

Jokes serve as barometers and stabilizers of ideology. What triggers laughter is subjective but the content of humor is culled from the histories, memories, and narratives shared within culture. Contemporary artists often look at the world from slanted perspectives in order either to highlight or counteract the conservatism of social norms. In doing this, artists such as Nina Katchadourian, Martin Kersels, Arlene Shechet, Alex Bag, Dana Schutz, Erwin Wurm, Andrea Fraser, Paul McCarthy, Richard Prince, Hannah Hach, Brueghel the Elder employ humor to imply alternative approaches to navigating experience. This course will focus more on the utilization of humor as a template for art-making and less on making `funny? art.

This class explores the art exhibitions as an experimental forum for making art. Working towards a `live? presentation of artworks, the class looks at studio practice and process based approaches for thinking about audience interactions and public engagement. Exhibitions take place in many different types of location and can take many forms. From traditional museum displays, to, momentary and temporary or even very casual presentations, from presentations to a wide public to a specifically chosen and closely defined audience and even to an audience of one, human interaction has a way of bringing art objects to life. But what makes an exhibition work? And what about an audience? Thinking through the many questions that arise when making artworks available to a viewer or a public each member of the class will exhibit/present/show/deliver or otherwise work towards sharing their work with an audience. Working through the current studio practice of each student this class will develop a curatorial plan that includes all members of the group. Alongside studio based work the class will including workshops about management, project management, financial planning and communications, building towards a working knowledge exhibition production, and the steps it is necessary to take to bring art objects into `live? contact with an audience.

What do record covers, public access cable, the National Enquirer, the architecture of rest stops and airport lounges, the Fireside Bowl, and Nike shoes have in common? They are all viable sources of inspiration for artistic production. In this class students will conduct research into the aspects of our culture that lie just outside the world of Art Museums and Galleries. Studio projects and research activities are designed to help students develop a framework for the understanding, discussion, and production of visual art in relation to the larger arena of visual culture.

What does it mean to create objects that appear ?out of time?? How do artists and designers study material culture from the past to the present to create content? Why do visual characteristics from the machined curves of the art deco period to 1980?s ?new wave? geometric abstraction get recycled again and again in art and design? Can nostalgia be used as a strategy for making? What is the difference between Modern and Postmodern? In this course we will examine the effects that the visual evidence of the past has on objects made in the present and create projects utilizing anachronisms as a tool for expressing content. Artists looked at will include Carol Bove, Jim Lambie, Kara Walker, Liam Gillick, Rodney Graham and TJ Wilcox. Field trips will include thrift and antique stores where we will look at the ways the world of stuff reflects and directs our understanding of the present.

Event Design: Atmospheres and Social Behaviors The event is an exciting and growing arena for design experimentation. The domain of radical experience design poses a new challenge for designers. Instead of perfecting technique, fabrication and form, we will focus our attentions on the immediate social effects of constructed atmospheres. This research studio invites students to consider, with energy, the ways that experience can be redefined and re-imagined, shifting the focus from the honing of forms to the cultivation of interactions between people, spaces and objects. First we will create a series of simple objects that foster different types of interaction between people and their environment. Then, we will use simple materials to create atmospheres to better understand their effects on human behaviors. Finally, the class will split into two teams and stage events for the other half, exercising our new understanding of both objects and atmospheres.

Post-human, post-gender, post-production... This course focuses on imagining the world in the (not-so distant) future. This topic is fertile ground for the creative reconstruction of the world as we know it. We will pull information from current headlines that draw attention to the `amplifed? body through advancements in cybernetics and prosthetics. We?ll study icons from popular culture who blur the gender dividing line. We?ll discuss how media post-production techniques can be added to the artist toolbox to help create new images, sounds and landscapes. Students will be exposed to techniques that may suggest how the `post-everything world? will sound, how we will move, and how we may picture ourselves. Specific techniques introduced in the course will include digital image manipulation, performance, body modification through sculptural means and creative video editing. We?ll explore books like `The Left Hand of Darkness? by Ursula LeGuin and other scifi writers, gender-bending pop-stars like Bowie, body sculpting designers like Alexander McQueen and Lucy + Bart, science fiction movies, and digital artists like Granular Synthesis. This course will introduce topics that suggest that there may be new ways to describe our human experiences and will introduce artists who attempt to offer a peek into this new way of life.

The Intersection of Art, Place and Experience: Studying tactical approaches to integrate artful solutions into everyday spaces. Generating a pattern book of observations and conceptual strategies that inform the building of environments and the development of experiences within them (through art and design). [this is an ideal research studio for students interested in enlightened and provocative 4-D approaches to design, installation, and narrative].

D.I.Y, Open Source, Pop-up, Alt Craft, Etsy, Renegade Handmade, Crafty Bastards; a few of the ideas and venues artists, artisans, crafters, and designers utilize to distribute their work to the public in an attempt to develop a sustainable practice alternative to the traditional gallery system. Is this a new trend, what came before, is it a lasting movement, or will it be a short-lived phenomenon? Is it feasible to make a living as an art or design entrepreneur? What are the implications for formally trained art school grads? How is Internet commerce changing the way artist/producers connect with their audience? We?ll research globally and visit members of the local creative community to unpack who and how your contemporaries are tackling these very issues. We?ll explore strategies of art/craft production to analyze, design, and build products and display systems that are portable and flexible for deployment in indoor and outdoor venues.

This course investigates the body as a means of measuring, traversing, and navigating space while constructing objects, drawings, experiences, and other ephemera that explore Chicago?s urban landscape. Students will experience both the iconographic and liminal terrains of the city and its horizontal and vertical aspects to examine the role of mobility and immobility. We will develop both conceptual and functional projects that study the relationship between the body and the urban landscape via the density and voids of Chicago and its surrounding peripheries. The entire city will be used as a laboratory site for unpacking ideas, both individually and collectively in order to explore and determine interesting environments. Through readings and class discussions, students will gain an understanding of historical and contemporary walking practices, site-specific art, as well as interdisciplinary artists that blur the line between art and the everyday. Readings include: The Practice Of Everyday Life by Michel de Certaeu, Walkscapes by Francesco Careri, Rebecca Solnit?s Guide to Getting Lost, to artists such as Archigram, Michael Rakowitz?s paraSITE project, Type A, Michael and Alan Fleming, Francis Alys, Valie Export, Tehching Hsieh, Sharon Hayes, and William Pope L. Good walking shoes are highly encouraged!

Lifting the Veil: Multi-Culturalism through Film and New Media Do the Right Thing, Killer of Sheep, Slumdog Millionaire, In the Mood for Love and Turbulence are a selection of films that have had a powerful impact on how we view culture around the globe. Performance and film significantly influence western mainstream society. Dating back to early films like DW Griffith?s Birth of a Nation (1915), artists (and politicians) quickly began to understand the influence that moving images have on molding cultural perspective. In this section, students will examine how popular and experimental media can be used as conduits to understand difference and `otherness?. From the stylizations of Blaxplotation films to Bollywood classics to experimental art videos, this class will challenge students to understand the power media and art to redefine identity. As an interdisciplinary studio/theory class students will create art objects, videos and drawings that addresses pluralistic experiences. The assignments are designed to shed light on customs, beliefs and styles that highlight the wealth of diversity that the students have accumulated from their respective backgrounds.

What is the definition of normal? Where do we draw the line between what is normal and what is different? Why does this matter? How does the spectrum of difference fit into contemporary thinking about diversity? These are just a few of the questions we will address in this class. Most importantly for this studio class, how do artists with differences of all kinds work with, around, address or distance themselves, from their difference and/or disability? This studio class will examine these questions and others through readings, looking at work by artists (those whose work addresses difference of all kinds -- physical, mental, social) as well as regular studio projects. All are welcome -- the normal, not so normal and definitely not normal.

You might know contemporary art when you see it, but what does contemporary art smell like? This course will explore all five senses as a starting point for content-development in your own creative practice, and as a way to explore issues of community, identity, and society. We will look to artists like Lygia Clark, Ernesto Neto, Janet Cardiff, and Natalie Jeremijenko as models for engaging with others through taste, sound, smell, touch, and vision. Projects will be individually focused but with an emphasis on social exchange, exploring possibilities for collaboration with your peers as well as with non-artist communities.

The sleep of reason breeds monsters. -- Goya What is it about the macabre, the grotesque, and the downright terrifying that many people find so compelling? Why do we intentionally frighten ourselves and what are we most afraid of? ?Horror? is a ubiquitous but much maligned genre of pop culture, the most effective vehicle for which is often film. Yet most horror movies are shallow and sensationalistic ? mere cinematic carnival rides through a landscape of gore and cheap thrills. Is there another, more artful tradition within this tradition that offers insights into the shadowy realms of human psychology? In this course we will take the horror tradition seriously ? as a window into the dark recesses of the human psyche and as a storehouse for cultural anxieties. Starting with the assumption that great horror uses metaphor, allegory, and subtext to explore deeper issues we will watch and analyze thirteen classic horror films (Vampyr, Rosemary?s Baby, Dawn of the Dead) and study analogous themes and iconography in fine art movements (Romanticism, Symbolism, Expressionism). Students will use strategies inspired by in-class study and discussion to execute art projects that elucidate the same themes in a variety of media.

This course will examine the miraculous and menacing faces of fantasy, from spiritual ecstasy and religious fundamentalism to Second Life, Santa Claus, plastic surgery, and falling in love. Ideals like Truth or Beauty can reveal the power of human hopefulness. At the same time, the act of imposing static ideals onto actual situations is a potentially violent one. We will explore the complex tensions between `real? and imaginary in works by artists like Desperate Optimists, Mariko Mori, Henry Darger, and Vito Acconci, composers from Mahler to Bjork, and films by Hitchcock, Kieslowski, Bu?uel, and more. The theoretical part of the class will be complimented by guided research and studio explorations. You will be introduced to a range of techniques for collecting and organizing material, and developing it according to your individual art practice. You can expect to develop a body of work and to personalize your own set of working methods related to this topic. In the process we will explore relationships between art and science, the notion of the documentary, and potential for the fantastic in works that combine live with recorded technologies.

We have lately seen food as a popular conversation in contemporary art, but is it perhaps the original subject matter- the cave paintings at Lascaux after all depict the hunt for deer, cattle, and bison. In this course we will examine food as subject matter in art from its historical depictions to its role in the contemporary discourse as a means of social practice. We will examine the contemporary landscape of food and ponder our own relationships with food sources in our everyday lives. The paths of research in this course will wander through the rich mosaic of cultural food traditions at hand in the neighborhoods of Chicago and the surrounding agricultural regions of the Midwest. Students will be challenged to create objects or situations using food as a subject matter. The processes employed will not solely focus on representations of food or food itself as a medium but also the relationships we have with food, from its sources, to its preparation, to the dining experience. This course will run concurrently to the FEAST exhibition at the Smart Museum, opening in early 2012.

Piratical Practices: Appropriation, Remix, Collage This course will serve as an introduction to contemporary remix practices. Remix is about transformation, responding to the media by learning how to copy, cut, collage, and communicate your own message. Students will learn how to break down the mechanics of the media in order to re-cut and re-interpret television, movies, photos, music, books, websites, objects and video games. Students will come away well-versed in the techniques and tricks used in remix works, including ripping videos, sampling audio, photo montage, text cut-ups, curling data from the web and hacking video games. In addition, we will discuss how to distribute these works while navigating the inherent legal issues. Students will look at examples of historical and contemporary remix artists such as Negativeland, DJ Spooky, William Burroughs, Sherrie Levine, Billboard Liberation Front, Girl Talk, Oliver Laric, and Elisa Kreisinger and read contemporary criticism by writers such as Lawrence Lessig, Corey Doctorow, Nicholas Bourriaud and others. Topics surveyed include copyright, piracy, appropriation, authorship, gift economies and participatory cultures.

How do artists choose and examine color beyond their personal taste? How does color impact narrative? How can color itself be a concept? This class examines and responds to the impact of cultural, commercial, and other systems of color upon contemporary art and current cultural production. Students will gain knowledge of materials and principles related to color theory as well as insight into the construction of authentic, sophisticated ideas and projects informed by and about color. Discussion, presentations and lectures will include such artists as Donald Judd, Sherrie Levine, Haim Steinbach, Damien Hirst, Jim Lambie, Michelangelo Antonioni, Sol LeWitt, Stan Brakhage, Ellsworth Kelly, and Johnny Cash. Studio projects and other artistic inquiry will include topic-related independent projects, materials tests, presentations, written assignments, and a semester-long color-based collection. Students will be encouraged and at times obliged to create with a multi-disciplinary approach. The only painting requirement exists in the creation of samples and swatches as a springboard for independent artmaking.

Reality has always been a source of inspiration in art, literature and filmmaking. It promises to reflect the world `as is? but the way we see it ends up bouncing back a very particular view of this world and often plays into what we either long, or fear to see. In this class we will focus on time-based arts and look at the relation between reality, film, video, photography and installation practices. We will do this while taking a look at our own and other people?s perception of reality. What defines our reality? How do we create our own reality? We will discuss crisis and scandal, therapeutic discourses, media simulation, realism and anti-realism, celebrity obsessions, our daily mediated construction of dreams, fears, desires, history and knowledge and question what it means to live in a 'surveillance society'? The class will focus on the increasing impact of social media on how we live and experience our lives. We will look at how artists are making use of these reality structures to create work, stage their own realities and how are they at the same time critical of our lived reality.

How do artists confront the issue of identity and self? This class will examine the many ways in which artists have tried to grapple with identity. In class and in out-of-class meetings, we will examine a wide range of conceptual and stylistic approaches including, verisimilitude vs. poetic and metaphoric strategies in self portraiture; the self in relationship to culture and society; the body as a vehicle for identity and the expression of self; and the impact of new technologies on our notions of identity. Studio research projects will explore the vexing question of who you are and how you can begin to `talk? visually about identity. Strategies for creating research projects will be presented through readings, discussions, slide lectures and field trips.

Understanding the truth of something often seems to get tangled up in a cacophony of voices that are all vying for your attention. Evidentiary forms such as newspapers and documentaries, while giving you a sense of being informed can seem lacking in their ability to arrive a deeper truth. Fictional or invented forms never ask to be believed in that way, but nonetheless can sometimes ?feel? closer to a truth. Pastiche, which openly imitates the work of previous artists while assuming that you already know how to ?feel? about the subject, it often takes on a form of critique through parody or irony. In this class we will experiment strategically with these three categories as well as with the way choices in material and medium add to the development of a point of view.

This class is a community-based practices research studio. Your curiosity is unexpectedly aroused: a flag waves...back; you stumble and realize that ?walking? is an ongoing process of losing and recovering your balance; your open mouth reminds you of a cave you and your friends once had entered. As artists and designers, our work often begins with these kind of small openings in the doors of our perception. In this class, students will use a series of individual and community-based 'situations' that will help trigger those 'ah'haa' moments. How can you effectively respond as an artist/designer when your curiosity is aroused? How does your personal history influence, and possibly limit, the ways you experience the world? In what ways can you translate these insights/ epiphanies into individual and community-centered artwork? This course will concentrate on a wide array of individual and social circumstances as they weave in and out of your daily routine. The class will provide you with ways to identify and develop work from those 'ah'haa' moments when your curiosity is piqued and the questions they raise. This formative process will be supported through a series of individual and community-centered inter-media projects. One of these projects will be done specifically in conjunction with an off-campus Chicago community.

What does it mean to be an artist of color or difference in Chicago and abroad? Historically, Chicago is a segregated city and the only hope to break these divisions is to examine where the boundaries exist. This course will be designed to explore the Chicago art scene from the perspective of a minority artist. Through investigation of where and how artists are showing, coupled with writings by E. Patrick Johnson, Adrian Piper and the Gorilla Girls, we will begin to unveil the complexity of the issues of race and gender in the arts and make artworks that speak to our individual perspectives on difference and its place in our lives. Where do women and artists-of-color fit in? What is the correlation between art and social science? How do artists deal with otherness inan art world that still is embedded in western society and traditions.

From Ouroboros, the serpent swallowing his tail, to pinwheels to knitting to Nietzsche?s eternal return to zoetrope animation to repeating computer programs, we both rely on and find inspiration in loops. We live in our own daily loop and sometimes find ourselves stuck in a loop. In this class we will explore loops and looping. In this class, we will make animated loops, physical loops, film loops, audio loops, looping video, and computer loops. We will splice, knit, bind, tape and program loops. We will explore loops as they occur in art and in popular culture, including: GIF animations, Casey Reas, holographic discs, orbits, Philip K. Dick, Lost, Margaret and Christine Wertheim, La jetee, Eva Hesse, urban knitting, Tony Conrad, pinwheels, Erik Satie, Groundhog Day, Edgard Varese, mobius strips, and Terry Riley.

Cast of Characters: monsters, exploradoras, alien robots, celebrities, cyborgs, ghosts and other impossible creatures in vectors, pixels and polygons Using a range of research/studio approaches including drawing and sketching, storyboarding, mockups, prototypes, storytelling, and performance, this course focuses on the conceptual development, design, and visualization/representation(s) of character(s) and character backstory. Techniques introduced in this course may include: 8-bit illustration, basic 3D modeling, 3D video, and augmented reality in the production of art/design for print, screen, web, and virtual spaces. Students are expected to push the boundaries of their known worlds/perceptions, exploring contemporary conditions of #truth, gender and race, class, culture, and character constructs while experimenting with new media tools, processes, and materials. This course draws inspirations and material from fairy-tales, games, memes, cartoons, toys, tropes, playlists, products, myths, dreams/nightmares, popular movies, entertainment, and media theories.

In this class we consider the proverbial questions: Is bigger better? Can less be more? This class is, in part, an investigation of scale and how size can impact meaning and viewer response. How might gigantic potentially be either grotesque OR bland? And can miniature alternately be precious OR pack a gigantic punch? Scale and its relationship to the body are considered throughout the semester. Other aspects of these polarities-- miniature vs. gigantic ideas, social ills, experiences, & memories,---are also considered. Research will be composed of mock-ups, studies, writings, lists, & collections. A final research project of your own choosing will conclude this exploration of The Battle of the Titans.

Landscape Explorations (Site/ Non-Site) This course is based on the practice of visual research and field study. Open to students from all disciplines 'Landscape Explorations' will explore the notion of place in a variety of media with a particular emphasis on the concept, practice or resource of `landscape?. Using the neighborhoods, city, and surrounding lands as our guide, we will explore and respond to the urban landscape of Chicago. Both `site? and `place? have a long dialogue with identity, urbanism, architecture and the built environment, destruction, memory, institutional critique, social or community-based practices, the market and more. Artists and cultural producers as diverse as Robert Smithson, Archigram, Mark Dion, the Situationist International, Bernd and Hilla Becher, and Chris Marker, among others will be discussed. Through a series of readings, lectures, and (site) trips, students will create a series of works through the gathering and accumulation of visual research (non-site). Students will complete three critiques and keep an archive of their collected research for presentation.

This class is a community-based practices research studio. Explore the intersections of art and culture. A creative, participatory action research methodology will fuel our aspirations toward a collaborative experience in the field. We will explore (and visit) artists and collectives that engage in public projects, detournement, spatial interventions, parodic art or actions, expressive solidarity, etc. (Yes Men, Superflex, FutureFarmers, Wochenklauser, Parfyme, and others). We will also visit local organizations involved in progressive ideas and experiments (City Farm, Center for Green Technology, ReBuilding Exchange). Our methods are highly participatory and inclusive; your input and ideas are vital as we embrace a group decision-making process. What will we do and where? We?ll decide together: working in conjunction with community gardens, environmental organizations, recycling or rebuilding centers -- and others to be discovered.

What Remains: Memory and the Indexical in Contemporary Art Our memories are flexible, often fractured, entities. However, they define us to a greater extent than even our histories do because of that imperfectness. In this course, we will examine memory work in contemporary art, focusing particularly on ?the indexical?, works that literally trace off and borrow from the originals leaving behind remains and residues of experience. The personal/private, as well as the universally shared (collective) experiences of the students will be material for us to explore memory in this open-media course, with casting, rubbings, media projections, photography, and much more being explored.

Atavistic Resurgence: Shamanism, Magick and the Occult in Art William S. Burroughs famously wrote, ?It is to be remembered that all art is magical in origin--music, sculpture, writing, painting--and by magical I mean intended to produce very definite results. Paintings were originally formulae to make what is painted happen.? This course will look at currents of magic, the occult, alchemy and shamanism in recent art: early abstract painting?s roots in 19 th century spiritualist movements, Forrest Bess?s dream visions, Joseph Beuys? shamanism, and AA Bronson?s healing practice are some examples. Students will consider how esoteric systems and concepts furnish potential metaphors for thinking about studio practice and art?s relationship to life. Topics may include sympathetic magic, ritual, divination systems, and healing.

Do you love things that are ravishingly crafted? Are you interested in the sublime and the beautiful, in all its conflicting forms? This course will focus on researching and crafting fabulous and awesome art objects and exploring how meaning is created through formal analysis . Course hands-on research will include the use of universal design principles such as composition, color, pattern, form and formlessness. Students will be encouraged to push their use of materials by using creative methods such as spontaneity/chance, systematic processes, and iteration. Studio investigations may be a means to an end, a starting point for your ideas, or simply a way to learn from experience. We will look at a broad range of artists and discuss writings by John Dewey (Art as Experience), Dave Hickey, Arthur C. Danto, and David Pagel, among others.

The Object: Emotion, Space and Context This course will open your eyes to the amazing objects and details all around us that are often overlooked, ranging from a small but important architectural detail designed by a star-architect to anonymous objects like a manhole cover designed decades ago by an engineer. The object of this course is to awaken your senses to those things around us that are often hidden in plain sight until you open your eyes to them. You will document and then produce objects that are inspired by your findings and learn how to develop your own visual archive. Once we have covered objects as individual elements we will then look at objects as they relate to space and context. This course will also examine the relationship between design and emotion through critical observation of form and our experience of it. You will research families of objects and decipher the emotional range made manifest in each object to begin to understand questions such as: Is there an emotional aspect to this object? What does the user feel as a result of the interaction? How is the emotional interaction defined? These questions and more will be explored through exploration and understanding of form and context.

Gendered and Sexed-up Spaces Situated at the intersection of queer and architectural theories, this course examines the pivotal role architecture and design play in the construction and performance of gender and sexuality. From public restrooms to gay bathhouses, gym locker rooms to sacred spaces, brothels to the the suburban tract house, the built environment is a collection of conscious efforts to regulate, segregate, and create ?order? among the sexes, genders, and sexualities based on heteronormative assumptions concerning body and mind. Students will be asked to make studio work that identify moments in the urban spaces around us where one?s gendered and sexual identities are affirmed, called into question, sanctioned, and challenged. We will look at architectural and design gestures by the likes of Santiago Calatrava, Jeanne Gang, Zaha Hadid, Stanley Tigerman and ?architecture without architects?, as well as artworks by Marina Abramovic, Felix Gonzalez-Torres, and James Turrell. Readings will include: Diana Agrest, Judith Butler, Allan Berube, Michel Foucault, Elizabeth Grosz, Jacques Lacan, and Henri Lefebvre.

The Weight of What's Not There: Visualizing the Invisible The power of nothing. The importance of blank. Formally and conceptually, this class will deal with the invisible in art and the invisible as art. We will make studio work that addresses questions about absence and deleting, infinity and faith, what cannot be seen but felt, and the images in our heads. We will also explore the interdependency between something and nothing, what we choose to emphasize and what we chose to ignore, and the extent to which our experience of reality is based on what is visible. All of this will inform a series of multi-disciplinary projects concerning the subject of what is not there. Among others, this class will examine and analyze the works of artists such as Tom Friedman, Gaylen Gerber, James Turrell, Rachel Whiteread, Chris Burden, Olafur Eliasson, Robert Ryman, Fred Sandback and Yoko Ono as well as Yves Klein?s Empty Gallery circa late 1950s and the newly funded Museum of Non-Visible Art, MONA.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

Core Studio for Transfers is an elective one semester course that introduces transfer students to both disciplinary and interdisciplinary art and design practices. Students learn about methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in connection with one another. It is highly recommended for transfer students who are coming to SAIC with little or no studio credit or a narrow range of experience with diverse media. Core Studio for Transfers integrates the formal with the conceptual, exposes students to a broad range of media and working methods and makes visible the possibilities of varied approaches to contemporary cultural production.

The continuation of Core Studio Practice I.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio --Transfer is specifically designed for transfer students who are new to SAIC. This particular class combines elements from Research I and II, which include an orientation to the culture of SAIC's community and Chicago at-large, with the more advanced developmental explorations and research of students already engaged in a practice. Students take this class to work with a variety of research methodologies, both traditional and experimental, utilizing School archives and the extended community in response to studio-based conversations. In addition students are connected with an Academic Advisor to help guide them in their choices for an individualized course of study at the School.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio I offers students an opportunity to explore creative research strategies used by artists and designers. The class is designed to help students recognize work habits, biases, strengths, and weaknesses, and to identify the most productive research methods for their studio practice. In Research Studio I students are involved in various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. With the help of faculty-directed assignments in various subject areas, students begin to develop their own studio practice.

Research Studio II has a thematic focus that informs a student's research and resolution of projects. Examples of research studio topics include: developing a narrative, determining color use, investigating strategies of chance, building pictorial space, referencing humor, and referencing historical and contemporary art making, among others Assignments and projects in Research Studio II are designed to encourage students to hone the research skills they developed in Research Studio I, and apply them to topic-driven projects of their design. Please see topic description for more information on each specific topic.

Research Studio II has a thematic focus that informs a student's research and resolution of projects. Examples of research studio topics include: developing a narrative, determining color use, investigating strategies of chance, building pictorial space, referencing humor, and referencing historical and contemporary art making, among others Assignments and projects in Research Studio II are designed to encourage students to hone the research skills they developed in Research Studio I, and apply them to topic-driven projects of their design. Please see topic description for more information on each specific topic.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

SAIC Wired 1: Literacy and Web explores digital imaging, design, and basic interactivity for artists and designers. Students learn how to create, use, and integrate a range of graphics, text, media, and HTML and CSS techniques in the development of creative projects.

Learn introductory audio programming concepts especially for artists and designers. No prior programming experience is required, although an intermediate knowledge of working with computers is necessary. This course is for students who are familiar with working with software and are interested in exploring sound production using visual programming languages. This course provides a fun and encouraging environment for students interested in the kind of digital programming that can lead to cutting edge art and design processes.

Learn introductory programming concepts especially for artists and designers. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. An intermediate knowledge of working with computers is necessary. The course will explore tools for modeling and animation, including code-based procedural animation/interaction and procedural modeling used in areas like parametric architecture.

Learn introductory programming concepts especially for artists and designers. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. An intermediate knowledge of working with computers is necessary. The course will explore tools for modeling and animation, including code-based procedural animation/interaction and procedural modeling used in areas like parametric architecture.

Learn introductory programming concepts especially for artists and designers. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. An intermediate knowledge of working with computers is necessary and an interest in working in small groups to conceptualize and prototype art apps for mobile devices. A smartphone is encouraged, but not required.

Learn introductory programming concepts especially for artists and designers. No prior programming experience is necessary. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. This course is for students who already have experience with computers and software and are interested in building on their skills.

Learn introductory programming concepts especially for artists and designers. No prior programming experience is necessary. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. This course is for students who already have experience with computers and software and are interested in building on their skills.

Learn introductory programming concepts especially for artists and designers. No prior programming experience is necessary. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. This course is for students who already have experience with computers and software and are interested in building on their skills.

Learn introductory programming concepts especially for artists and designers. No prior programming experience is necessary. This course provides a fun and encouraging environment for students interested in getting their hands in the kind of code that can lead to cutting edge art and design processes. This course is for students who already have experience with computing and software and are interested in exploring game concepts, game design and game development.