Roger Reeves
Course Search Degree Programs
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Introduction to Clay | 1000 (001) | Javier Jasso | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course provides an introduction to clay as a material. Participants will be introduced to a wide variety of methods and techniques to build, decorate, and glaze ceramic. Demonstrations in Hand-building, coiling, slap-building and surface application including glaze development and application, slip decoration and firing methods, will give students a proficiency in working with clay and in the ceramic department. Introductions to the rich and complex history of ceramic through readings, lectures and museum visits, will provide students with exposures to the critical discourse of contemporary ceramic. This is primarily a beginner's course but open to all levels of students. Readings will vary but typically include, Hands in Clay by Charlotte Speight and John Toki. Vitamin C: Clay and Ceramic in Contemporary Art by Clare Lilley. Ten thousand years of pottery by Emmanuel Cooper. 20th Century Ceramics By Edmund de Waal. Live Form: Women, Ceramics, and Community by Jenni Sorkin. The course will look at artist like Magdalene Odundo, George E. Ohr, Shoji Hamada, Roberto Lugo and Nicole Cherubini as well as historic ceramic from the Art Institutes of Chicago?s collection. Students are expected to complete 3 projects by the end of the semester, Biweekly readings will be part of the course.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Designed Objects | 1001 (001) | Cassandra Scanlon | Mon
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer. The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified. Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final). This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (001) | Jiwon Son | Mon
9:00 AM - 3:00 PM In Person |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Reading Art | 1001 (001) | Zoe Greenham | Fri
8:30 AM - 11:15 AM In Person |
Description
Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.
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Class Number |
Credits |
DepartmentLocation |
| Ceramics: Wheel Throwing Fundamentals | 1001 (001) | Chris Salas | Sat
10:00 AM - 4:00 PM In Person |
Description
This course will focus on developing beginning and continuing skills on the wheel. Students will be introduced to fundamental methods for using the wheel as a tool to create vessels with consideration of their meaning and consequence and stretch the boundaries of utility. In addition to the design and structure of functional objects, this course will familiarize students with the working properties of ceramic material, firing methods, and glazes. We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Edmund de Waal, Alleghany Meadows, Gerrit Grimm, Mike Helke, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Chris Staley, Glenn Adamson, Jenni Sorkin, Okakura Kakuzo and Edmund de Waal Projects vary, but typically there are 5-6 assignments in the course with each assignment consisting of 3-20 pieces of finished work with additional research in glaze and firing processes. Students will also have readings and responsibilities with firing work.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (001) | Olivia Ridge | Mon
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| World Cultures and Civilizations: Prehistory to the Nineteenth Century | 1001 (001) | Rebecca Journey | Wed
6:45 PM - 9:30 PM In Person |
Description
Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.
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Class Number |
Credits |
DepartmentLocation |
| FYS I: Re(Defining) Art | 1001 (001) | Alexander W Jochaniewicz | Tues
8:30 AM - 11:15 AM In Person |
Description
In this writing course, students will consider different perspectives of art and of the artist—including the process of artistic creation, artistic standards and criteria, interpreting art, and the life of the artist—and students will also express their own perspective in discussions, written assignments, and informal presentations, too. The reading list will consist (mostly) of personal essays from a wide range of writers, including (among others) W.E.B. Dubois, T.S. Eliot, bell hooks, Jeannette Winterson, and Susan Sontag—all of whom, along with each other, will help challenge, strengthen, and refine our own perspectives about art and our artistic identities. Students will write about what it means to be an artist as well as develop their perspective about the power and purpose of art. The process of writing will be practiced throughout this course, from brainstorming, to drafting, to peer review and revising. FYS I develops college-level writing skills, prepares one for FYS II and upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Designed Objects | 1001 (002) | Sara Prado | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer. The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified. Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final). This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Architecture/Interior Architecture | 1001 (002) | Jaak Jurisson | Thurs
9:00 AM - 3:00 PM In Person |
Description
Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Visual Communication | 1001 (002) | John Bowers | Wed
8:30 AM - 11:15 AM All Online |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (002) | Catherine Gass | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| World Cultures and Civilizations: Prehistory to the Nineteenth Century | 1001 (002) | Mik Czerwinski | Tues
3:30 PM - 6:15 PM In Person |
Description
Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.
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Class Number |
Credits |
DepartmentLocation |
| FYS I: The Writing Project | 1001 (002) | Joanna Anos | Tues
12:15 PM - 3:00 PM In Person |
Description
At the heart of the writing project is the writing process: from sketching to planning, free writing to drafting, envisioning to revisioning. Writing requires both the creative and critical mind; it asks for patience with not knowing and provides us with the means--if we allow ourselves to follow where it may lead--to get from nowhere to somewhere, from not having the words to finding our voice. Process is primary in this writing seminar: students will explore their own and others' ways of making, read artists' writings about art, write in a variety of short forms, including the essay, and pursue a longer, multi-part writing project.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Visual Communication | 1001 (003) | Eliza Rosen | Wed
9:00 AM - 3:00 PM In Person |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (003) | Cecil McDonald, Jr. | Tues
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| World Cultures and Civilizations: Prehistory to the Nineteenth Century | 1001 (003) | Tues
12:15 PM - 3:00 PM In Person |
|
Description
Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (004) | Kat Bawden | Tues
3:30 PM - 9:15 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: Copyrights and Wrongs | 1001 (004) | Jennie Berner | Fri
12:15 PM - 3:00 PM In Person |
Description
In this writing-intensive course, we will explore the line between originality and plagiarism in a variety of fields including art, media, technology, music, business, entertainment, and medicine. In what contexts is copying an art? A science? A crime? How much should we be allowed to borrow from the work of artists and writers who have come before us? Do we owe them anything when we do? What are the economic, social, and political implications of copying? Readings will cover a range of subtopics such as genetic cloning, music sampling, artistic forgery, cultural appropriation, film adaptations, drug patents, fan fiction, body modification, and fair use. We will also analyze the work of artists and writers whose work speaks to some of these issues, including Kenneth Goldsmith, Fred Wilson, Jeff Koons, Sherrie Levine, DJ Dangermouse, and Jen Bervin. Writing assignments ? totaling 15-20 pages over the course of the semester ? will emphasize analysis, argument, research, revision, and other academic writing skills.
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Class Number |
Credits |
DepartmentLocation |
| FYS I: Come to Your Senses | 1001 (005) | Matilda Stubbs | Wed
8:30 AM - 11:15 AM In Person |
Description
This seminar introduces students to the anthropological study of the senses. Through close examination of ethnographic texts and films, students will explore how cultures 'make sense' of the everyday and increasingly globalized world. With a heavy emphasis on written assignments, we approach the notion of perception as more than a purely physical act, and through structured participation and deliberate observation, students will learn how sensory experiences are deeply related to our own histories and cultural identities. Course activities center around developing analytic skills in the genre of ethnographic writing, and critically engaging with cross-cultural examples of sensual mediations of reality. Topics range from how the senses shape the aesthetics of daily life through color, odor, and flavor, to the significance of communication and information of technologies in the era of virtual reality, slime videos, and the online autonomous sensory meridian response (ASMR) community.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Visual Communication | 1001 (005) | Mary Krysinski | Thurs
9:00 AM - 3:00 PM In Person |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (005) | Matthew C. Siber | Wed
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (006) | Lali Khalid | Thurs
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: Writing for Space-Making | 1001 (009) | Tues
6:45 PM - 9:30 PM In Person |
|
Description
Writers can have the power to create space for communities that are marginalized in society, but this work is never easy. In this class, we will examine the works of writers who have attempted this and analyze the success and cost of such attempts. Our readings will include works by: Esme Weijun Wang, Rupi Kahur, Ryka Aoki, Patsy Mink, and others. We will also utilize SAIC’s amazing resources like the Service Bureau, the Art Institute, the writing center, the diversity department, and Title IX office. In this class, students will exercise their voices and embrace the writing process. They will think of writing beyond what happens on the page.Towards this end, each class begins with mindfulness and connection activities. Students will be required to write weekly reflections, multiple drafts of an essay, and do a class presentation. Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing. Attendance is extremely important and heavily weighted.
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Class Number |
Credits |
DepartmentLocation |
| FYS I: Magical Realism | 1001 (010) | Irina Ruvinsky | Mon
8:30 AM - 11:15 AM In Person |
Description
In this class we will read a selection of magical realist narratives ranging from Gogol to Marquez to understand major forms and conventions that have distinguished this literary genre. We will examine twentieth-century magical realism in light of its reaction to nineteenth century realism and post-colonialism. While it is true that Latin American authors have contributed much of the theoretical conceptualization and fictional expression of magical realism in its present form, in this course we will we will treat this genre as a cross-cultural phenomenon by focusing on works of Russian and Latin American literature.
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Class Number |
Credits |
DepartmentLocation |
| FYSe: Laughing Matter | 1002 (001) | Sophie Goalson | Wed
8:30 AM - 11:15 AM In Person |
Description
As an art form, humor is often considered menial and unrefined. In reality, the psychology of humor — exactly what it is that makes something funny — is complicated and requires careful mastery. This course will examine how writers and artists have historically used humor to reach audiences deeply, emotionally, and politically. Through works by Mark Twain, Franz Kafka, Calvin Trillin, Jade Chang, Percival Everett and others, we will get to the heart of what makes something funny, and how humor has changed over time. Students will build on foundational academics habits with weekly short writings. To complete the course, students must write 3 papers (one analytical, one argumentative, and one creative.
PrerequisitesMust complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011) |
Class Number |
Credits |
DepartmentLocation |
| Arch/Inarch: Design Drawing | 1002 (001) | Aaron Neal | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is a comprehensive introduction to two-dimensional architectural and interior architectural representation. Students learn hand-drawing and digital techniques to produce orthographic, axonometric, isometric, and perspectival projections in individual and group projects. Students move between two- and three-dimensional representation, developing robust skills for design drawing. Typically the course will review the work of architects and designers throughout the history of architecture representation. Readings will vary and focus will be concentrated on understanding and putting into practice the mechanisms of drawing. Course work consists of building techniques and practice of drawing. Classes will develop incremental skills through assignments and projects that culminate into complex drawings and representations. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (001) | Kimberly Karen Viviano | Tues
3:30 PM - 4:45 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (001) | Mon
12:15 PM - 3:00 PM In Person |
|
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
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Class Number |
Credits |
DepartmentLocation |
| FYSe:Near-Death Experiences | 1002 (002) | Peter Thomas | Mon
8:30 AM - 11:15 AM In Person |
Description
This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about near-death experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Some of us have had a near-death experience in which our survival felt in doubt. Almost all of us have had nearness-to-death experiences in which we glimpse the passing of some other person or creature and must contend with death?s significance. In this course, we?ll study short works that explore what nearness to mortality reveals to us. We?ll read Virginia Woolf, Tim O?Brien, Annie Dillard, Lu Hsun, Tobias Woolf, Wole Soyinka, and Nancy Mairs, among others, as we examine how death?s presence has impacted these writers in unanticipated ways. Students should expect to write and revise 3 major essays in addition to short writing assignments, totaling 15-20 pages of formal prose.
PrerequisitesMust complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011) |
Class Number |
Credits |
DepartmentLocation |
| Arch/Inarch: Design Drawing | 1002 (002) | Jaak Jurisson | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is a comprehensive introduction to two-dimensional architectural and interior architectural representation. Students learn hand-drawing and digital techniques to produce orthographic, axonometric, isometric, and perspectival projections in individual and group projects. Students move between two- and three-dimensional representation, developing robust skills for design drawing. Typically the course will review the work of architects and designers throughout the history of architecture representation. Readings will vary and focus will be concentrated on understanding and putting into practice the mechanisms of drawing. Course work consists of building techniques and practice of drawing. Classes will develop incremental skills through assignments and projects that culminate into complex drawings and representations. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (002) | Fri
3:30 PM - 6:15 PM In Person |
|
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
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Class Number |
Credits |
DepartmentLocation |
| FYSe: Film Noir and Genre | 1002 (003) | Jacob A Hinkson | Tues
3:30 PM - 6:15 PM In Person |
Description
In this writing intensive course, we will develop the skills of argument-driven writing as we examine film noir and the question of genre. What does it mean to look at a series of disparate cinematic texts as examples of the same textual category? Is “film noir” best defined by a pattern of visual motifs? Can the genre be better characterized by the repetition of various story structures, themes, and character archetypes? Or is “film noir” (and perhaps “genre” itself) a categorizing term which has outlived its usefulness as a way of understanding individual film texts? Students will explore these questions through an examination of three key films: The Big Sleep (1946), The Reckless Moment (1949), Devil in a Blue Dress (1995), and The Deep End (2001). Readings will include critical works by Raymond Borde, Étienne Cahumeton, Janey Place, Megan Abbott, and Joan Copjec. These materials will inform multiple argument-driven essays students will draft and revise over the course of the semester. In composing these essays, students will study thesis formation, rhetorical modes, and ways to incorporate sources into evidence-based arguments.
PrerequisitesMust complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011) |
Class Number |
Credits |
DepartmentLocation |
| Illustration Technologies Lab | 1002 (003) | Kimberly Karen Viviano | Wed
6:45 PM - 8:00 PM All Online |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (003) | Tamar Kharatishvili | Tues
3:30 PM - 6:15 PM In Person |
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
|
Class Number |
Credits |
DepartmentLocation |
| Illustration Technologies Lab | 1002 (005) | Kimberly Karen Viviano | Thurs
3:30 PM - 4:45 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (005) | Christopher Cutrone | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
|
Class Number |
Credits |
DepartmentLocation |
| Illustration Technologies Lab | 1002 (006) | Kimberly Karen Viviano | Thurs
5:00 PM - 6:15 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (006) | Marissa Baker | Wed
12:15 PM - 3:00 PM In Person |
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
|
Class Number |
Credits |
DepartmentLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (007) | Tamar Kharatishvili | Mon
12:15 PM - 3:00 PM In Person |
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
|
Class Number |
Credits |
DepartmentLocation |
| Survey of Modern to Contemporary Art and Architecture | 1002 (008) | Artie Foster | Fri
8:30 AM - 11:15 AM In Person |
Description
This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.
|
Class Number |
Credits |
DepartmentLocation |
| Adv Survey Mod/Cont Art & Arch | 1002 (04S) | Donato Loia | Fri
12:15 PM - 3:00 PM In Person |
Description
This is an advanced course that surveys developments in nineteenth and twentieth century art and architecture. It is intended for BAAH students and Scholars Program students. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. ARTHI 1201: Discussion Section for Advanced Survey of Modern to Contemporary Art & Architecture is required.
|
Class Number |
Credits |
DepartmentLocation |
| First Year Seminar Enhanced (EIS) | 1003 (001) | Diane Worobec-Serratos | Wed
8:30 AM - 11:15 AM In Person |
Description
FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected.
PrerequisitesMust complete English Fluency I (EIS 1021) |
Class Number |
Credits |
DepartmentLocation |
| First Year Seminar Enhanced (EIS) | 1003 (003) | Annette Elliot-Hogg | Thurs
12:15 PM - 3:00 PM In Person |
Description
FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected.
PrerequisitesMust complete English Fluency I (EIS 1021) |
Class Number |
Credits |
DepartmentLocation |
| First Year Seminar Enhanced (EIS) | 1003 (004) | Maryjane Lao Villamor | Tues
12:15 PM - 3:00 PM In Person |
Description
FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected.
PrerequisitesMust complete English Fluency I (EIS 1021) |
Class Number |
Credits |
DepartmentLocation |
| First Year Seminar Enhanced (EIS) | 1003 (005) | Diane Worobec-Serratos | Fri
12:15 PM - 3:00 PM In Person |
Description
FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected.
PrerequisitesMust complete English Fluency I (EIS 1021) |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Americana Music | 1005 (001) | Andrew Lindsay | Wed
8:30 AM - 11:15 AM In Person |
Description
“Genre” and tradition in music are nebulous terms, yet we can’t escape them. Examining these genre distinctions consistently reveals two things - the history and tradition that helped birth the genre “category,” and the web of influences between genres that make such distinctions unstable. Nowhere is this “instability” more apparent than in American music, a country whose relatively young socio-political history makes the notion of “tradition” especially complicated. “Americana” is an overarching term to describe a variety of American musics, in an attempt to smooth over some of the complicated relationship between genre and tradition. One thing we will explore in this course is the effectiveness of that endeavor. Complicated spaces, of course, are fertile ground for argument, and that is the primary skill we will practice in this course. We begin with short writing assignments that force students to make arguments about our texts. Our class discussion allows us to workshop these claims, and we write larger papers that demonstrate the ability to take greater risks with our theses. In this course we will focus on the core skills of reading and writing, preparing us for all our future coursework at SAIC. Students learn to make nuanced observations about the texts we study, observations which form the basis for the argumentative papers we write. This course will focus on artists representative of the various genres said to populate Americana music. Special attention, however, will be paid to those artists who trouble the genre definitions, such as the Staple Singers, Gillian Welch, and Sturgill Simpson. Assignments consist of informal, observational journals, short papers and a larger Final Paper at the end of the course.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Gender in Action | 1005 (002) | Whitney D. Johnson | Fri
3:30 PM - 6:15 PM In Person |
Description
First Year Seminar I provides guided experience in college-level expository writing inspired by a topic in the liberal arts. This section will introduce the topic of gender and social movements to prompt analytical thought, reading, and writing. Specifically, we will ask how different views of gender have prompted social action. Particularly as gender intersects with other social identities, such as race, class, sexuality, nationality, and ability, we can assess the successes of gender activist groups from a diversity of viewpoints. In addition to feminism and transfeminism, we will discuss conservative activist groups, as well. Some of the scholars and artists we will study in this course include Davis, Beauvoir, Stryker, Srinivasan, and Lorde. Students should expect to write at least 15 pages over the course of the semester, with opportunities for planning and revision built into each of the longer essays. As an applied component of the course, students will have an opportunity to describe imagined or enacted participation in gender activism alongside the core component of analytical writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Life Account | 1005 (003) | Suman Chhabra | Wed
8:30 AM - 11:15 AM In Person |
Description
In our creative practices we take our lives into account. You determine the format to share your story. In this course we will read different forms of autobiography: graphic novels, memoirs, essays, poetry, and journals. We will look at the various creative forms writers use to convey information about their lives, discuss why we make artwork about ourselves, and study how each form connects with readers. Though we will read about individual experiences, we will consider their impact on the collective. Readings often include works by Ocean Vuong, Trevor Noah, Diana Khoi Nguyen, EJ Koh, and Kazim Ali among others. In our FYS II course, we will develop our critical reading, writing, and thinking skills. This is a studio writing class in which we will focus on writing as a process. We will freewrite, formulate conceptual questions for the readings, write responses, and compose and revise 20-25 pages in multidraft essays. FYS II develops college-level writing skills, prepares one for upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Sherlock Holmes | 1005 (004) | Terri Griffith | Fri
8:30 AM - 11:15 AM In Person |
Description
When Sherlock Holmes made his debut in 1887, no one, especially not his creator Sir Arthur Conan Doyle could have predicted the success of the first consulting detective. Sherlock Holmes has been adapted on the stage, to film, television, comic books, board games, video games, and by other authors into their own detective novels. Even today, we are surrounded by new versions of this favorite character. In this writing course, students will begin by writing essays based on canonical works, then move to writing critical analyses of contemporary interpretations, ending by imagining the future of Sherlock Holmes.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Monsters & Colonization | 1005 (005) | Michael R. Paradiso-Michau | Thurs
6:45 PM - 9:30 PM In Person |
Description
FYS 2 provides continued guided experience in college-level writing, thereby forming the necessary foundation for upper level Liberal Arts classes. The phrase 'illegal alien' is used by various politicians and commentators, but what does it really mean? What does it literally mean? What is it assuming? What does it entail? Together we will read, write, think, and discuss the ways in which contemporary media imagines 'the Other,' in particular our enduring legacy of colonial and neocolonial attitudes and behaviors. We will also study the metaphors that extraterrestrial alien cinema present, in terms of settler colonialism and its aftermath. Readings and screenings will include science fiction and horror films, documentaries, primary autobiographical narrative, and critical scholarship on these topics. Students should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and one in-depth revision) in addition to homework exercises and in-class writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Human Subjects | 1005 (006S) | Jennie Berner | Mon
12:15 PM - 3:00 PM In Person |
Description
When scientists conduct research involving human subjects, they are required to seek permission from Institutional Review Boards to ensure that their research is safe and ethical. Artists, however, have no such obligation. When working with human subjects – whether they be muses, models, collaborators, participants, or viewers – artists often must decide for themselves what is right or wrong. For example, should street photographers get consent from the people they photograph? Is it okay for performance artists to make their audiences physically or psychologically uncomfortable? Should some art come with a trigger warning? Is it appropriate for a painter or fashion designer to ask a model to endure pain or danger for the sake of art? What do artists owe their subjects (financially, emotionally, morally, etc.)? In this research and writing-intensive course, we’ll explore these types of questions through artworks, installations, and performance pieces by artists including Sophie Calle, Clifford Owens, Paul McCarthy, Arne Svenson, Vanessa Beecroft, Santiago Sierra, Marina Abramovic, Song Ta, and others. Writing assignments – totaling 20-25 pages over the course of the semester – will emphasize summary, analysis, argument, research, revision, and other academic writing skills.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Writing Food | 1005 (007) | Terri Griffith | Fri
12:15 PM - 3:00 PM In Person |
Description
Eating is a necessity, yet what and how we eat is influenced by many things. Ethnicity, religion, gender, class, and personal values all shape what ends up on our dinner plate or even if we have a plate at all. In this course, students will read well-known food writing by authors, as well as writing by lesser-known authors who write for more specific audiences. Through in-class writing, formal essays, and a final research paper and presentation, students will explore their own experience with the culture of food.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Reality and Conspiracy | 1005 (008) | David B. Johnson | Thurs
3:30 PM - 6:15 PM In Person |
Description
What makes someone's belief a conspiracy theory? How do we distinguish conspiracy theory from legitimate suspicion, especially when history teaches us of many real conspiracies? Are conspiracy theories actually pernicious and if so, why? This writing-intensive course aims to deepen and expand the writing skills students gained in FYS I by examining these and related questions through readings in epistemology (the branch of philosophy that deals with the nature of knowledge), political philosophy, history, and contemporary journalism. We will examine historical examples of both real conspiracies (e.g., COINTELPRO, the Iran-Contra Affair) and groundless conspiracy theories (e.g., QAnon, Flat Earth theory, The Protocols of the Elders of Zion). Students should expect to produce 20 to 25 pages of formal writing (an essay and a research paper, both of which will go through significant revision), in addition to homework exercises and in-class writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Visions of Apocalypse | 1005 (009) | Jacob A Hinkson | Fri
3:30 PM - 6:15 PM In Person |
Description
Why are we fascinated with the end of the world? Throughout history, human beings have contemplated the apocalypse–whether as a fulfillment of religious prophecy, as the result of atomic war, or as a consequence of climate change. This class will examine apocalyptic visions in art, film, literature, and music. In their research and writing, students can expect to explore the aspect of this subject that matters most to them and/or that inspires their curiosity. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Students should expect to write 20 to 25 pages of formal, revisable writing (i.e. one conversation essay and one research project, both with multiple drafts) as well as homework exercises and in-class writing. Much in-class writing will be included, as emphasis is on development of the intellectual skills of reading and responding critically, which forms the basis of each student's career at SAIC. Furthermore, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing should be expected.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Recreation & Play | 1005 (010S) | Raghav Rao | Mon
8:30 AM - 11:15 AM In Person |
Description
Discretionary time is time that is not constrained by the necessities of life. It is the domain of recreation and play. This class invites students to critically engage with modes of recreation: hobbies, games, outdoor activities, media consumption, creative pursuits, and vice. Through texts and discussion, students will inquire into how society produces and is produced by its modes of recreation, and how social relations are impacted through its dynamics. They will also bring greater attention to themselves and the values undergirding their personal modes of recreation. The focus of this class is to help students develop the skills required to perform academic research. Students will learn how to propose lines of inquiry, shortlist and interrogate sources, reference sources, and synthesize material. Ultimately, the final project for the class will be a high-quality research paper. Over the course of the semester, in total, students will be expected to produce 20-25 pages of material. Texts for the class include Diane Ackerman, Mihaly Csikszentmihalyi, Tricia Hersey, Priya Parker.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Curatorial Considerations & Conundrums | 1005 (011S) | Diane Worobec-Serratos | Mon
8:30 AM - 11:15 AM In Person |
Description
FYS II builds upon the foundational writing skills developed in FYS I, with the introduction of more rigorous argumentation and research. Students will hone their skills and work toward greater independence in writing tasks while critically examining the act of curation. From personal wardrobes and social media accounts to the sometimes-violent legacy of museum collections, curation is all around us. If curation means to care for items in a collection, what does that care entail? As a form of cultural production, whose needs are being cared for? Whose are being neglected? Which voices are amplified, and which are silenced? In a broader context, can curation be an emancipatory practice in the struggle for social justice? As artists, what is our responsibility in selecting, grouping, and caring for our work? To investigate these questions, in the first part of the course, students will explore a variety of curatorial geographies, looking critically at how commodification, patriarchal racism, and colonial capitalism have informed and disrupted curatorial practices over time. Later, students will apply the reflections and insights from course readings and activities to research a curatorial endeavor of their choosing. Students will write 20 to 25 pages of formal, revisable writing (i.e., one essay and one research project, both with multiple drafts) as well as homework exercises and in-class writing. Writing and class activities will emphasize the development of responding critically to a variety of texts and sources to prepare students for the challenges in their coursework at SAIC. To that end, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing will be required.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Paris Noir | 1005 (012) | Anita Welbon | Tues
12:15 PM - 3:00 PM In Person |
Description
Tanner, Hughes, Baker. Prophet, Bearden, Chase-Rimboud. Wright, Baldwin, Himes. African-American visual, literary, and performing artists have journeyed to Paris for a few months, a year, or a lifetime to find what they could not in the United States, a space to fully explore, develop, and execute their artistic vision. This FYSII course examines the history of African American artists in Paris, exploring the cultural, political, and artistic forces that drew them to the city of light. Through short written responses and longer formal papers, students will continue to develop their writing skills as they consider this rich history.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Women Writers' Worlds | 1005 (013) | Sherry Antonini | Thurs
12:15 PM - 3:00 PM In Person |
Description
This class is an investigation of texts by well-known women writers and poets as seen through the lens of personal, social, and historical factors motivating and inspiring each. What forces sit at the root of their strongest poetry? What historical events and personal experiences moved them to write such striking stories? We’ll read pieces by a wide range of women writers across the timeline of literature. Among others, writers considered in our study will include Sappho, Anais Nin, Sylvia Plath, Maya Angelou, Julia Alvarez, Maxine Hong Kingston, Tracy K. Smith, Jenny Zhang, and Roxane Gay. Students will discuss and write about short pieces and excerpts written by these women as informed by research-bound information on the personal and external factors that impacted their lives and their writing. As a FYSII course, this writing-intensive class has as a core focus the continued development of intermediate/advanced writing skills and methods. Our classes will consist of discussion of particular written pieces, engaging in related research, and writing response and analytical essays, with a final project that incorporates collaboration and a creative component.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Dreamers, Utopians, and Mystics | 1005 (014) | Irina Ruvinsky | Wed
8:30 AM - 11:15 AM In Person |
Description
This course explores the literary genre of fantasy, including the subgenre of science fiction. Through the lenses of Russian literature and film we will investigate fantastic’s sister genres: “the uncanny” or “the marvelous.” We will examine how classical Russian writers and cinematographers, ranging from Gogol, Nabkov, Bulgakov to Tarkovsky, engaged with the fantastic, the supernatural and developments in science and technology. We will study how political ideology and resistance helped shape Russian fantasies and fears in the 20th and 21st centuries in literature and film. Students will be expected to write 3 persuasive papers, 6-7 pages each, aimed to develop persuasive, analytical and critical thinking skills.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Identity:Ind/Cult/Soc | 1005 (015) | Christine M Malcom | Wed
8:30 AM - 11:15 AM In Person |
Description
Identity is a contested social field where internal notions war with external labels. In this class, we examine identity from a four-field anthropological perspective We explore the social nature of the human species, examine how the performance of language unites individuals and distinguishes groups, and discuss the problematic notion of bounded cultures and their reification in classic and contemporary ethnography and in archaeological writings.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Subversion: Intro to Postcolonial Theory | 1005 (016) | Wed
6:45 PM - 9:30 PM In Person |
|
Description
How can we think about a world today that exists within the long shadows of histories of colonial extraction, violence, and racism? How does history shape the languages and categories through which we feel, speak, think, and act? What is the nature of power, and what happens to power when the one who exercises it to dominate others disappears from direct view? What does it mean to be free, or to decolonize a world or a mind? These are the kinds of questions out of which 'postcolonial theory' developed. In this writing-intensive seminar, we will begin with foundational texts from Aimé Césaire, Frantz Fanon, Edward Said, Gayatri Spivak, and Homi Bhabha. We will then draw out the resonances of these writers through anti-colonial, Black radical, Afropessimist, feminist, and Marxist traditions that challenge and extend postcolonial theory's interventions into our concepts of 'theory' and political struggle. In the process, as a group working together in a studio writing class, we will interweave discussion with writing exercises oriented around conceptual problems at the center of postcolonial theory, including the power of writing itself. From various freewriting exercises to formal essays that will go through multiple processes of revision, we will practice several different writing styles in order to consider the various meanings of freedom, domination, and the possibilities of subversion as a guiding principle for writing itself. FYS II develops college-level writing skills, prepares one for upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Past, Present, & Future Chicago | 1005 (017S) | Joshua Rios | Mon
6:45 PM - 9:30 PM In Person |
Description
“Past, Present, and Future Chicago” examines the complex and layered histories of Chicago through the cultural lenses of literature, art, music, public space, and architecture. It actively presents the city as a place where various social groups have migrated, lived in proximity, struggled for equality and resources, as well protested, celebrated, and produced art and culture. Some events this class engages include the establishment of the city through the Chicago Treaty of 1833, the Great Migration of the early 1900s, post-industrialization, the formation of historic neighborhoods (Pilsen, Lawndale, Chinatown), and the rise of House and electronic music. We will conduct periodic field trips throughout the city to enhance our readings, research, and experience-based understanding of Chicago’s ever-present histories. Relevant artists, writers, and activists include Gwendoline Brooks (poet), Gordon Parks (photographer), Amanda Williams (architect/artist), and Frankie Knuckles (DJ), among others. FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more self-directed rigorous argumentation and research. Students should expect to write 20 to 25 pages of formal, revisable writing (one experiential essay and one research project, both with multiple drafts), as well as homework exercises and in-class writing. Furthermore, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing should be expected.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Certainty and Mind | 1005 (018) | Guy Elgat | Mon
6:45 PM - 9:30 PM In Person |
Description
This course serves as an introduction to philosophy through an exploration of some of its basic questions. Specifically, through a reading of two chapters from Descartes’ Meditations the course will address questions that fall under the following headings: 1: Epistemology: What is knowledge? What are the sources of knowledge? What is philosophical skepticism about knowledge? What can be known with certainty? 2: Mind and Self: What is mind and how is it distinct from matter? What is consciousness? The course is writing intensive: students should expect to write 20-25 pages of formal, revisable writing, including the research paper.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Irish Rebels: 20th-21st century | 1005 (019) | Eileen Favorite | Wed
8:30 AM - 11:15 AM In Person |
Description
FYS II is the follow-up course to FYS I, where students develop their writing skills to include research and argumentation. In this class we’ll look at how the Irish fought to overthrow colonial rule in 1916-1922 and win the Irish War for Independence. We’ll learn about the Old I.R.A. as well as the Cumann na Ban, the women’s paramilitary that aided the guerilla fighters. In the second part of the course, we’ll examine the partition of Ireland into Northern Ireland and the Irish Republic. With a deep dive into The Troubles, we’ll interrogate the weapons of terrorism as well as the nonviolent resistance of hunger strikes. We’ll examine all sides of the issues by reviewing poetry (Seamus Heaney and Eavan Boland), political commentary and research (Fintan O’Toole and Patrick Radden Keefe), and contemporary short stories and creative nonfiction (Clare Keegan, Dioreen ni Grioffa). We’ll also unpack how current politics, especially Brexit and demographic changes, threaten to destabilize Northern Ireland. Through in-class writing exercises, drafting of papers, and mindful writing workshops, students will develop their writing and researching skills, with the creation of 20-25 pages of academic writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Céline Sciamma | 1005 (020) | Annette Elliot-Hogg | Wed
12:15 PM - 3:00 PM In Person |
Description
In her films Water Lilies (2007), Portrait of a Lady on Fire (2019) and Petite Maman (2021), French director Céline Sciamma subverts the “male gaze” of traditional Hollywood to define a revolutionary “female gaze.” Her slow rhythm of cutting, economical framing and sparse narratives, create a feminist grammar of cinema. “It’s always about the female characters,” she explains in an interview, “because they can be themselves only in a private space where they can share their loneliness, their dreams, their desires.” In FYSII, we will expand our critical reading, writing and thinking skills. We will develop a descriptive vocabulary to analyze the use of camera movements, cutting and composition of the frame that goes into the making of a film. We will write two critical essays (20 to 25 pages of formal writing), which will be workshopped in class and revised.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: British Feminist Writers | 1005 (021) | Eileen Favorite | Tues
8:30 AM - 11:15 AM In Person |
Description
FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Nuclear Problems & Society | 1005 (022) | Aiko Kojima Hibino | Thurs
8:30 AM - 11:15 AM In Person |
Description
When the first artificial self-sustaining nuclear chain reaction was created in 1942 in Chicago, human society was destined to tackle with an unsolvable conundrum. How could our society possibly justify the augmentation of this enormous power that could destroy our own existence? This course investigates discourses around two major uses of nuclear power in society – nuclear weapons and nuclear energy – and examines them through social justice lenses. Key points of inquiry include: what risks are associated with nuclear weapons and energy and how they have been evaluated in contrast to their benefits, how the damages that were caused by nuclear weapons and energy have been addressed and mended, and whether the harms that were made by nuclear weapons and energy equally impact all groups of people. Building on the basic reading and writing skills introduced in FYS I, FYS II will further students’ academic skills in writing an independent research paper. Therefore, in this course, students are expected to read primary and secondary sources to collect evidence to develop their critical arguments on nuclear problems.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Food and Culture | 1005 (023) | Kate Lechler | Fri
3:30 PM - 6:15 PM In Person |
Description
Food is one of life’s great pleasures and the pursuit of flavor and nutrition has shaped the global map as we know it today. Every culture has food rituals around both its preparation and consumption, while the academic study of food intersects with almost every other topic of study, from economics and biology, to history and art. This course will focus on texts that span a variety of nations, languages, genres, and mediums, all of which explore the collective human experience of food. What do we eat–and when and why? How did our most beloved foods come to be and how do they reach us today? In response to these questions, we’ll read texts by famous food-writers such as Michael Pollan and Samir Nosrat, alongside horror and fantasy stories by Cassandra Khaw and Seanan McGuire. We’ll examine medieval recipes alongside viral TikTok recipes; view Dutch and Flemish still lifes and Warhol paintings; and watch the Hulu show The Bear and Stanley Tucci’s movie Big Night. In their research and writing students can expect to explore the topic of food that most inspires their curiosity, FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing and revision will be more self-directed in this FYS II class, which provides guided experience in writing college-level essays of various kinds. Students should expect to write 20-25 pages of formal, revisable writing as well as homework exercises and in-class writing. This writing will take the form of two essays and a final project, an in-depth revision based on instructor and peer workshop feedback.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Speech and Voice | 1005 (024) | Tues
3:30 PM - 6:15 PM In Person |
|
Description
How have artists in literature, theater, music, and other sound-based media represented or incorporated the human voice into their work? This FYS II course builds on the writing and thinking skills students began to develop in FYS I by introducing more advanced argumentation and research methods. To guide our inquiry, we might consider questions such as: How do we understand 'authentic' or 'common' speech, what accounts for its claim on our attention, and what are the politics around it? How does its apparent spontaneity relate to formal aspects of a work of art? Why do diverse folk traditions put human speech in the mouths of animals? How do we experience, on the one hand, divine or oracular voices understood to come from beyond humankind, and on the other, AI-generated simulacra? What does it mean to appropriate another's voice, and why is spoken language such a significant marker of individual and collective identity? How have new technologies of amplification, reproduction, and distribution changed how we hear ourselves? Sources we may consider include: Wordsworth, European opera, Brecht / Weill, Lotte Lenya, Cathy Berberian, Derek Walcott, Kamau Braithwaite, Linda Rosenkrantz, Meredith Monk, Bernadette Mayer, Pere Gimferrer, Nathaniel Mackey, American hip hop. Students can expect to produce 20-25 pages of formal, revisable writing, as well as regular in- and out-of-class assignments. The course builds toward a self-directed research paper on a topic of the student's choosing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Walking | 1005 (025) | Suzanne Scanlon | Thurs
8:30 AM - 11:15 AM In Person |
Description
Fernando Pessoa in Lisbon, Virginia Woolf in London, Frank O’Hara in New York City; writers, philosophers and artists of all kinds have long created, expanded, and contracted the self through the act and practice of walking. We will spend this semester reading and writing texts structured around the movement of the self in the city and country, at home and away, considering both content and representations of the body in space. We will look at authors, filmmakers and conceptual artists from a range of linguistic and cultural backgrounds to ask: What kind of literary devices does the author use? How does the tone/style contribute to the work as a whole? How does the text build, sentence by sentence or scene by scene? Are specific images repeated and/or used differently throughout the work? Students should expect to write 20-25 pages of formal, revisable writing, including a researched essay.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:The Critical and the Fine | 1005 (026) | Herman Stark | Tues
3:30 PM - 6:15 PM In Person |
Description
This intense writing course fosters college-level writing skills at a level suitable for upper level Liberal Arts courses. Various types of essays will be executed (e.g., analysis, comparison and contrast) over a number of drafts. As for content, the course targets two aesthetic and philosophical phenomena: the critical and the fine. These phenomena can appear apart (e.g., critical thinking apart from the fine can lead to cynicism and even misology), but they can, in synthesis, produce both philosophy and art of the highest order. M. Gelven's text, The Quest for the Fine, and J. Lynch's The English Language, provide examples from philosophy, art, and language that illustrate paradigmatic syntheses of the critical and the fine. We'll consider, for example, the following distinction: The active voice lends crispness to your writing...but the passive voice works well when the action is more relevant than the person or thing doing the action. By reviewing such instances of grammatical and syntactical precision, across different topics, we will develop our internal sense of the fine. As for the critical, consider the following line by Emily Dickinson: 'Because I could not stop for death...he kindly stopped for me....' It takes the critical touch of a master poet to insert kindly; why, after all, kindly? Do not humans tend to flee death? Is not death a topic to be avoided? Do not many of us rather wish, sometimes idly and sometimes fervently, that we could live forever, or at least longer than we do? Or, has the poet revealed an ambiguity in how one might really feel, and think, about one's mortality? In this seminar, we will learn to make and appreciate such examples in writing, and indeed in writing that displays a heightened criticality and a heightened sense of the fine. Fine and critical writing is expected each week in weekly seminar reports, and over the entire semester in four essays, resulting in 20-25 pages of formal, revised writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: (Still) Life-Writing | 1005 (027) | Aaron Greenberg | Fri
12:15 PM - 3:00 PM In Person |
Description
What is the meaning of life? How does life translate to the page and canvas? In this course, we will practice the art of writing by representing its relations to life. FYS II develops college-level writing skills, preparing students for upper-level Liberal Arts courses. We’ll focus on still lifes—among the most enduring, versatile, and overlooked art forms—which illuminate new perspectives on the lives of artists and the lives of objects we represent. Authors including Lisa Knopp and Norman Bryson will provide critical context for the course, while artists including Alice Neel, Georges Braque, Fernand Léger, Juan Sánchez Cotán, Jonas Wood, Henri Matisse, and Pablo Picasso will set the table with examples of the genre. However, students will develop writing projects around still life artists of their choice. We will experiment with ekphrasis, the detailed written description of visual art. We’ll write about art that portrays the interplay of life, death, and (in)animacy, as we consider the history of ideas represented through still lifes including: the limits and possibilities of genre, vanitas, memento mori, and subject/object relations. Students will create 20-25 pages of formal, revisable, and (if they choose) publishable writing across three short essays and two in-depth revisions. Students will also learn to write a research paper, using scholarly constraints to enhance creativity.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II:Hearing Voices | 1005 (028) | William T. Faber | Fri
12:15 PM - 3:00 PM In Person |
Description
In this course we will work to develop our capacities as critical writers and readers by engaging the question: “what is a voice?” To do this, we will move across the domains of politics (“voice of the people”), linguistics (“spoken voice”), psychology (“individual voice”), creativity (“find your voice”), sound (“tone of voice”), the body (“vocal chords and voice box”), technology (“the recorded voice”), and the sacred (“voice of God”). Ultimately, we will cultivate through writing and discussion a semester- long call and response via the diverse meanings and identities attributed to the voice across a range of cultural and historical locations. How do these diverse formulations resonate and speak with one another, and what might their connections reveal about how we understand ourselves and our world? Our course materials will include works by linguist Ferdinand de Saussure, composer Pauline Oliveros, the poet Ovid, sociologist W.E.B Du Bois, novelist Tommy Orange, philosopher Maladan Dolar, folk tales collected by the Brothers Grim, the spiritual texts of Hazrat Inayat Kahn, the blues music of Ma Rainey, among many others. Thematically, we will frequently consider the ways that the voice transgress the borders of metaphor and material fact, shaping our sense of both the individual and the collective. Throughout this course students will develop techniques for critical reading, writing, and listening, as we discuss materials which present and theorize the identity and meaning of the voice, including examples from music, religious studies, poetry, and philosophy. Students will analyze, synthesize, and compare these multiple perspectives in weekly writing assignments and class discussions and develop strategies for mobilizing diverse forms of evidence in support of their original arguments.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Hollywoodland | 1005 (029) | Zachary Tavlin | Mon
12:15 PM - 3:00 PM In Person |
Description
FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: What is X? | 1005 (030) | Kerry Balden | Thurs
3:30 PM - 6:15 PM In Person |
Description
In this course, we learn to inquire according to the most basic question available to us: to ask what something is. For this purpose, we'll read a handful of Platonic Dialogues, which are as comprehensive as they are artistic. Each dialogue asks a question about something fundamental to human life: What is love? What is art? What is friendship? What is power? What is god? What is courage? What is justice? Throughout the course, we'll write a couple of shorter assignments in preparation for a final paper. Building on FYS I, we now further learn how to write for specific readers. Far from merely demonstrating that you the author understand something, your writing will have to explain something to someone who doesn't understand, someone who may be resistant to understanding. In order to do so, we rely on regular, structured sessions of peer feedback, which involve specific, suggested revisions, rather than mere indications of like and dislike. And though we'll learn select principles of writing, such as those of argument, or of introductions, or of conclusions, the course utterly depends on your involvement: If we cannot be readers for one another, in all our idiosyncrasies and specific feedback, then we can't learn how to write for this or that discourse community. Students can expect to write at least two pages per week, culminating in a final research paper or project. Over the semester, students produce 20-25 pages of formal, revisable writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Grief in Art | 1005 (031) | Thurs
6:45 PM - 9:30 PM In Person |
|
Description
Nearly three years into the Covid pandemic and we are still in the midst of a prolonged state of grief. As we consider the ways in which we have found - or struggled to find - help with our grief, the questions must be asked: What mechanisms were in place for communal grief? What mechanisms were in place for individual grief? Moreover, in times of tragedy and trauma, who or what can we turn towards to help us with this incredibly complex and human process? In this second semester course, each student will build off the academic writing and critical reading skills of FYS1 and work to construct a formal research essay that examines the role of art in grief. While our individual work will be specific and focused, our combined efforts will represent a broad exploration into the psychology of grief in the context of art. As a class community, we will examine the behavioral science behind grief, the various cultural practices and traditions around grief, and the ways in which both visual and written art are often our best tools for understanding grief. Sources may vary, but expect to read and analyze a diverse collection of authors and artists, including: Jhumpa Lahiri, James Joyce, Pema Chodron, Pauline Boss, Ada Limon, Roger Robinson, Carrie Mae Weems, and Chimamanda Adichie. Students will learn how to formulate a meaningful research question, vett and synthesize a variety of sources, and produce a polished academic research paper. We will utilize writing workshops, peer review, and process-oriented feedback to help us each produce 20-25 pages of formal and revisable writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Fashion, Body, and Garment | 1010 (001) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Fashion, Body, and Garment | 1010 (002) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Fashion, Body, and Garment | 1010 (003) | Isaac Couch | Sat
10:00 AM - 4:00 PM In Person |
Description
This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Foundations Writing Workshop | 1011 (001) | Jennie Berner | Fri
3:30 PM - 6:15 PM In Person |
Description
The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.
|
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (001) | Alison Ruttan, Iris Bernblum | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (001) | Alison Ruttan, Iris Bernblum | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Foundations Writing Workshop | 1011 (002) | Alexander W Jochaniewicz | Fri
3:30 PM - 6:15 PM In Person |
Description
The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.
|
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (002) | Mikey Peterson, David Lozano | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (002) | Mikey Peterson, David Lozano | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (003) | Isaac Vazquez, Anna Laure Kielman | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (003) | Isaac Vazquez, Anna Laure Kielman | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (004) | Stevie Thomas Hanley | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (005) | Anna Martine Whitehead, Christine Anne Shallenberg | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (005) | Anna Martine Whitehead, Christine Anne Shallenberg | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (006) | Elena Ailes, Benjamin Melamed Pearson | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (006) | Elena Ailes, Benjamin Melamed Pearson | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (007) | Troy Daniel Briggs, Assaf Evron | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (007) | Troy Daniel Briggs, Assaf Evron | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (008) | Paul Simmons, Allison Yasukawa | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (008) | Paul Simmons, Allison Yasukawa | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (009) | Sarah Jean Belknap, Joseph David Belknap | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (009) | Sarah Jean Belknap, Joseph David Belknap | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (010) | S. Bailey Jacobson, Kitty T Huffman | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (010) | S. Bailey Jacobson, Kitty T Huffman | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (011) | Loretta Bourque, Troy Daniel Briggs | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (011) | Loretta Bourque, Troy Daniel Briggs | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (012) | Zachary Hutchinson | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (013) | Susan Giles, AJ McClenon | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (013) | Susan Giles, AJ McClenon | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (014) | Pablo R Garcia, Burton Isenstein | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (014) | Pablo R Garcia, Burton Isenstein | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (015) | Joseph David Belknap | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (016) | John Henley, Hope Roberts Esser | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (016) | John Henley, Hope Roberts Esser | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (017) | Sarah Jean Belknap, Evan Fusco | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (017) | Sarah Jean Belknap, Evan Fusco | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (018) | Benjamin Melamed Pearson | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (019) | John Henley, Hope Roberts Esser | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (019) | John Henley, Hope Roberts Esser | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (020) | Lise Haller Baggesen, Michelle Bolinger | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (020) | Lise Haller Baggesen, Michelle Bolinger | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (021) | Steve Amos, Delano Dunn | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (021) | Steve Amos, Delano Dunn | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (022) | Maria Burundarena, Andrew Martin Roche | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (022) | Maria Burundarena, Andrew Martin Roche | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (023) | Nelly Agassi, Laleh Motlagh | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (023) | Nelly Agassi, Laleh Motlagh | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (024) | Maria Gaspar, Rosalynn Gingerich | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II | 1011 (024) | Maria Gaspar, Rosalynn Gingerich | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Materials/Process: On/Off Wheel | 1012 (001) | Javier Jasso | Tues
3:30 PM - 9:15 PM In Person |
Description
This course is a broad overview of ceramic construction methods, firing processes, development of clay and glaze, and use of equipment. This is course is essential in learning the core processes of working with clay. Students will broaden their skills and gain a more thorough understanding of material characteristics and processes, develop firing skills, and participate in a dialogue about theory and content in ceramics. This course will address processes of hand-building and throwing on the wheel. The format of this course includes weekly demonstrations and lectures and development of a personal body of work utilizing ceramic technology. We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will include are: Bouke de Vries, Kahlil Robert Irving, Ed Eberle, Marilyn Levine, Bonnie Marie Smith, Kjell Rylander, Gerrit Grimm, Genesis Belanger, Richard Shaw, Kristen Morgin, Shannon Goff, Bente Sk?ttgaard, Joanna Powell, Joanna Poag, and Eugene Von Brunchenhein. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors are: Glenn Adamson, Jenni Sorkin, Jo Dahn, Garth Clark, Edmund de Waal. Projects vary, but typically there are 4 assignments in the course with each assignment consisting of 1-5 pieces of finished work with additional research in glaze and firing processes. Students will also have readings and responsibilities with firing work.
|
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (001) | David Lozano | Tues
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (002) | Peixuan Ouyang | Wed
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Ceramic Sculpture | 1014 (001) | Sonya Bogdanova | Tues
3:30 PM - 9:15 PM In Person |
Description
This course is a concentrated examination of ceramic construction and firing processes, clay and glaze materials, and use of equipment to produce ceramic sculpture. This is essential as a fast track entry into competent and independent use of the department for students new to ceramics. Students broaden their skills and gain a more thorough understanding of material characteristics and processes, develop their firing skills, and participate in a dialogue about theory and content specific to ceramic sculpture. The course format includes weekly demonstrations and lectures while developing a body of personal work utilizing ceramic technology. It is required that this, or another Materials and Processes course is taken before or concurrently with any other ceramics course.
|
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Intensive | 1014 (001) | Laura Davis, Lora Lode | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Intensive | 1014 (001) | Laura Davis, Lora Lode | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Intensive | 1014 (002) | Laleh Motlagh | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II: Intensive | 1015 (001) | Laura Davis, Lora Lode | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The continuation of Core Studio Practice I.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Survey of Design History: Between Object and Ephemera | 1015 (001) | Michael Golec | Wed
12:15 PM - 3:00 PM In Person |
Description
This lecture course grounds students in basic critical themes in the history of design and design objects. Through lectures, demonstrations, and readings students study the material and discursive conditions of the history of design. Through lecture, readings, discussions, and museum visits, the class highlights a broad range of objects and formats in graphic design, object design, fashion design, and architectural design. Course works includes object analysis assignments, short research paper, and mid-term and final exams.
|
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II: Intensive | 1015 (001) | Laura Davis, Lora Lode | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The continuation of Core Studio Practice I.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice II: Intensive | 1015 (002) | Laleh Motlagh | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
The continuation of Core Studio Practice I.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Survey of Modern and Contemporary Painting | 1017 (001) | Mark Krisco | Thurs
3:30 PM - 6:15 PM In Person |
Description
This class reveals the fine art, photography and art theories of late 19th century to the present day. The first half of the semester focusing on the period 1851 to the economic crash of 1929; which had been a time of rapid social, economic and political change impacted by revolutions in communication systems, technology and easy availability of reproductions. Students will gain a comprehensive and chronological picture of the major art movements and their engagement with or reaction against previous art and artists. The major artists of the major movements of Impressionism, Cubism, Purism, Expressionism, Futurism, Surrealism and Abstraction will be addressed in regards to their aims and achievements.These include - to name the most prominent - Claude Monet, Paul Cezanne, Picasso, Braque, Leger, Kirchner, Severini, Magritte, Dali and Kandinsky and Mondrian.The class ending with major 20th century artists from Pollock and De Kooning of Abstract Expressionism to Pop artists Andy Warhol and Roy Lichtenstein to current times and how they relate to this legacy and the concept of an art museum in terms of urban capitalism, Colonialism, Nationalism and Internationalism. This class has weekly reading assignments from two major texts ; one written by art historian Richard Brettell and one written by artist Alex Katz. Written questions about these readings will be assigned as well. The class also often has sketching and student discussions in the museum. There is also one final paper on the artist covered most admired by each student.
|
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (001) | Amy Vogel | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake 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. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (003) | Loretta Bourque | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake 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. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (004) | Sarah Jean Belknap | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake 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. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (001) | Kelly Xi | Mon
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community. Students will undertake 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. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.
PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (002) | Markus Dohner | Thurs
3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community. Students will undertake 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. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.
PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: English Language Fluency | 1021 (002) | Nat Holtzmann | Fri
3:30 PM - 6:15 PM In Person |
Description
This is the first of two English language fluency courses for students who do not speak English as their first language. Students improve their academic English skills by reading and responding to art appreciation and art history texts. Texts are analyzed for formal as well as contextual information. Students learn how to integrate their own observations and knowledge with information gained from reading and lecture. Students also build competence and confidence in college-level writing. Topics include formal analyses and/or critical responses to works of art. Presentations and class discussions also give students practice communicating their knowledge through speaking.
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Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (003) | Steven Heyman | Tues
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community. Students will undertake 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. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.
PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: English Language Fluency | 1021 (003) | Maryjane Lao Villamor | Fri
3:30 PM - 6:15 PM In Person |
Description
This is the first of two English language fluency courses for students who do not speak English as their first language. Students improve their academic English skills by reading and responding to art appreciation and art history texts. Texts are analyzed for formal as well as contextual information. Students learn how to integrate their own observations and knowledge with information gained from reading and lecture. Students also build competence and confidence in college-level writing. Topics include formal analyses and/or critical responses to works of art. Presentations and class discussions also give students practice communicating their knowledge through speaking.
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Class Number |
Credits |
DepartmentLocation |
| RS: Maximalism: You are too much | 1022 (001) | Sarah Bastress | Mon
9:00 AM - 3:00 PM In Person |
Description
This class is about being EXTRA. It is about adding all of the sequins and showing all the warts and having all of the feelings. Our editing process will be to add MORE. This class will explore how notions of simplicity, purity, and perfection have been used to uphold a cis white male status quo in the artworld. Using the idea that taking up space and time is a form of agency, this class will join in with the abundance and lushness of maximalist artists who have come before us to find ourselves messy alternatives. We will be too loud, too angry, too big, too pretty, too dramatic, too ornate, too much. Over the course of the semester, students will search for their own gluttonous icons, develop their own over-the-top persona, create an alternate Western art history where minimalism became maximalism, create one semester-long piece they work on every class, create a drawing a day (we hope!), and build a grotto, among many other artworks. Ideas of STUFF, Immigrant Maximalism, excess, the radicality of doubt, duration, decoration, the grotesque, sustainability, and how to make work with an abundance of “trash” will also be discussed. Field trips will include Thomas Kong at Kim’s Corner Food, the Roger Brown House, and Tweet/Big Chicks. Other artists and art movements included in discussion will be Persian Miniatures, Caitlin Cherry, Kerry James Marshall, Dynasty Handbags, Nick Cave, Lari Pittman, Agnes Martin, Horace Pippin, Ivan Albright, Danez Smith, Virginia Woolf, Howard Finster, Florine Stettheimer, James Ensor, Gravy Train!!!!, and John Waters. We will also eat cake in class.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Play and Belonging | 1022 (002) | Alex Cohen | Mon
9:00 AM - 3:00 PM In Person |
Description
1) In this course we will look into the ways that play shapes our everyday lives and it's use in language development. Play is self chosen and self directed. Students will be encouraged to turn the classroom into a place of experimentation where they will engage in self-directed acts where they will be asked; ''can we foster new forms of play that will lead us to develop new structures of belonging?''. 2) We will look at the bodies of work by artists Jacob Lawrence, Faith Ringgold, Chris Johnson, Thomas Hirschorn, Louise Bourgeois, Diane Thater among others and how they have used art to construct and develop imaginative worlds that represent community through experimentation and exploration of form. We will also engage with the play theories of Peter Gray, Brian Sutton Smith, Johan Huzinga, and Michael J Ellis. As well as ''belonging'' by bell hooks. We will bring as many things together to look at the ways that play shapes us and is essential for the development of ''worlds''. 3) True in Play form students will engage in self-directed projects where I as Faculty will serve as Facilitator of all experimentations in the name of Play and Learning. There will be three prompts throughout the semester where students will be asked to generate self directed projects that address these specific issues. The three prompts are: How Do You Move, Whats the best way to organize that?, and These are my intentions.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Body as Site | 1022 (003) | Nelly Agassi | Mon
9:00 AM - 3:00 PM In Person |
Description
This course will explore the relationships between Body - Action - Space as “ingredients” and foundation for performance, sculpture and installation. The students will research these relationships through projects and contextual materials, and will be offered the opportunity to critically engage their position and research in a broader intellectual discourse. From Dada automatic writing and stage sets through performance and installation artists from the 60’s and 70’s, groups such as Fluxus, to contemporary practices and interdisciplinary examples from art, architecture, culture and design. The body is a storage space that records life experiences as material that can be translated into an image or experience, which is later transmitted in space.¿We will discuss the body as a site, perhaps a “construction site” while considering the concepts of scale (the body as a starting point, space as the extension of the body) and site-specificity by revealing and redefining the tensions between private and public, body and space, object and performance.Various audiences, political histories and contexts will be addressed. We will discuss in depth the notion of identity, gender and personal hi/stories and integrate those subjects in the research, practice and works. We are all coming from deferent background, culture, language and tradition which I will celebrate in this class and motivate the students to acknowledge this wonderful inspiration and exposure as a gift to their life and practice. The goal is to engage in the process and its different stages, from conceiving an idea to a full executed projects through research based practice which is aware of different histories and points of view.¿Students will work as investigators, they will collect and document all the “evidence” of their creative process. This research will be gathering material from inspiration and tests to contextual and intellectual framework related to the project. This way of research will provide a platform to develop their own unique “toolbox” and artistic vocabulary based on their personal biographies, anxieties, hopes and fantasies, as well as building a critical and intellectual reflection through discovering various resources which are not necessarily internet. They will be encouraged to pay attention to small details, mistakes and restrains that will emerge, and turn them into advantages, tools and material to work with. Coursework will include readings, presentations, discussions and exchange of ideas. Curiosity, devotion and creating a safe space, respect and sensitivity to one another culture and identity is crucial for the success of the course.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS:Our Bodies are the Battlegroun | 1022 (004) | Peter Jorge Fagundo | Wed
9:00 AM - 3:00 PM In Person |
Description
After decades of marginalized positioning, the figure/human body has come back to the center of contemporary art, but its return is characterized by foible, specificity and doubt. Issues of race, gender and identity have called for new narratives, empathy and instruction. We are redefining the way we see ourselves. We will look at the body in art from pre-history through it's problematic past in the western tradition and how it's being used now to correct and reflect our varied reality. Students should expect to produce a body of work consisting of 3-5 finished pieces which we will critique throughout the semester.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS:Remake: The Sequel | 1022 (005) | Larry Lee | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
1) Can a copy of something be better than the original? Is it “just as good?” Nowadays Hollywood and mass media sanctions the remake by constantly churning out sequels. But critics and pundits often stigmatize that which is copied unfairly as “unoriginal”. Yet what is authentic or real versus fake or bogus¿depends on the different facets of constant reinterpretation and redefinition. In this class, follow the successful formula by remaking a version of an original as a sequel. Make a mockery of the new. Embrace the tried and true.¿Explore, investigate, discover, reopen, fertilize, cross-pollinate overworked ground and often exhausted territory into something fresh (maybe). 2) Take a ¿tongue-in-cheek albeit serious look into the idea of reproduction, authenticity, appropriation, palimpsest, homage, influence, et al, through such artists as Marcel Duchamp, Andy Warhol, Claes Oldenburg, Mike Bidlo, Sherrie Levine, Pierre Huyghe, Yasumasa Morimura among others that continues the project started from either Core or RS1 of transforming previous work into new and other manifestations as course of investigation and process of research. 3) Students should expect to produce a body of work consisting of 3-5 finished pieces during the semester, to be presented in a culminating course critique.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Making Words Things | 1022 (006) | Joshua Rios | Mon
9:00 AM - 3:00 PM In Person |
Description
Making Words Things is a research- and practice-driven course that examines the relationship between language and contemporary art production. We will consider the physicality of text and the many ways that words and writing have informed and influenced a range of artists using a range of media and media combinations. Beyond the basic framework of writing and text as materials to be explored, this course prioritizes artists that have been historically marginalized as a result of their social identities, which may include gender, race, ethnicity, able-bodiedness, sexual orientation, and more. We will do research on and be inspired by such artists as, Cary Leibowitz (Candyass), Carrie Mae Weems, Glenn Ligon, Edgar Heap of Birds, Felix Gonzalez-Torres, Lorna Simpson, Sky Hopinka, Renee Green, and Park McArthur. Poets and writers we will read include, Joy Harjo (the first Native American US Poet Laureate), Claudia Rankine (Citizen), and Theresa Hak Kyung Cha (Dictee), among others. We will engage theories of writing, like semiotics, narrativity, and the power of metaphor. Site visits may include the Poetry Foundation, Harold Washington Library, and exhibitions that have a strong link to the themes of the course. There are three major projects, which can include any media combination, as well as various exercises related to publishing as practice, public intervention, and translation.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Digital Craft. | 1022 (007) | Burton Isenstein | Mon
9:00 AM - 3:00 PM In Person |
Description
How are emerging technologies enabling artists and craftspeople to redefine the meaning and scope of the field of craft? Will traditional craft remain segregated as a field or are established techniques and materials merging with new materials and ways of making? How has new technology historically been integrated with traditional ways of making before the digital revolution? We’ll explore the contemporary handmade market and research brands such as Etsy and Shapeways, as well as observe how the DIY and Maker movement is influencing the field. We’ll research how social media, online marketing, and NFTs have changed the way artists/producers connect with their audience. We’ll research individuals who make a living as independent artists, crafters, designers, and explore how the school’s resources can be utilized to build a tool-set for inventive means of production post SAIC. We’ll also examine branding, product packaging and research practical use of software and digital tools including Rhino for creating 2 dimensional designs output by the plotter cutter, and modeling 3D objects. We'll use 3D printing and various tools available in the CP Digital Lab while considering the use of these tools in combination with traditional processes such as mold making. Students should expect to complete 3-5 projects which include conceptualizing a solution to a problem and creating a prototype that describes this solution.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Ghosts & Monuments | 1022 (008) | Eliza Fernand | Tues
9:00 AM - 3:00 PM In Person |
Description
This course looks at ghosts and monuments as parters in remembering. Students will research ghostly traditions from their own lineages and delve into the history of their immediate surroundings in Chicago by finding local ghosts and public monuments. We will consider ghosts as possibilities beyond the paranormal by exploring eco grief, nostalgia, and broken communication. Monuments will be questioned and queered in a search for transparency around public art and field research on graffiti. Through studying various hauntologies, students will generate their own research topics that will be the basis for a proposed monument. We will develop a routine of field trips and individual research with regular opportunities to share progress with the group as interests overlap. Artists and scholars studied in this course include Alexis Pauline Gumbs, Michael Rakowitz, Heidi Lau, Tania Bruguera, Killjoy's Kastle, Félix González-Torres, and Monument Lab. Don't worry, this class is not spooky, unless you want it to be!
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Repeat, Rewind, Recycle, Redux | 1022 (009) | Michelle Bolinger | Tues
9:00 AM - 3:00 PM In Person |
Description
Why do some artists use the same imagery over and over again? How does it change or stay the same? Why do some artists produce multiples? How does quantity and multiplicity impart meaning? How can repetition be used to reinvent or edit an idea? In this class, we will ask these questions and more as we explore the ways artists revisit certain ideas and techniques. We will look at work by Yayoi Kusama, Allan McCollum, Joyce Pensato, Andy Warhol, Judy Ledgerwood and Agnes Martin among many, many others. You will complete two independent projects and contribute to one group project in this class. Studio work will be supplemented with several field trips, readings, presentations and group discussions.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: The Aftermarket | 1022 (010) | Laura Davis | Tues
9:00 AM - 3:00 PM In Person |
Description
How is it that art can be one of the most valued things on earth and yet totally common? In this course we will explore ways that art objects move through capitalism and can command value in ways that often question or contradict this very system. Some of the scholars/artists we will study in this course include Rose Salane, Liz Magor, Nina Katchadourian, Rashid Johnson, and Do Ho-Suh. This course will have 3 projects. The first will explore the legacy of the readymade, the second will focus on art as a form of exchange, and the third will be the creation of value through time, repetition, skilling, accumulation, time-lapse, craft, and/or mastery.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS:The Trouble with Wilderness | 1022 (011) | Lora Lode | Tues
9:00 AM - 3:00 PM In Person |
Description
Wilderness is the place where, symbolically at least, we try to withhold our power to dominate.” This is a quote from an essay by William Cronon, which is an inquiry into human relationships to concepts of wilderness and nature, and how they change over time. In this class we will examine the complexity of these concepts. What is our current understanding of living things within earth’s biome and their relationships to each other? We will explore the relationship between environment, human/animal/plant life and ‘vibrant matter’ (for philosopher Jane Bennett: our experience of things) through the lenses of social and environmental justice. Students will be introduced to expanded concepts of nature, ecological systems, land reparations, and regenerative practices that address anthropogenic environmental changes. Artists and writers have long worked with nature as material and as subject -- whether image, representation, a construct or an environmental reality -- at times to imagine fantastically and at times to transform. To support creative research, we will delve into works drawn from literature, poetry and many forms of art making via readings, film screenings, podcasts and field trips. Starting with Cronon’s essay, weaving through Romanticism, Transcendentalism, the environmental movement, climate crisis, and land reparations. We will engage with many artists, designers, architects and scientists on these subjects (earthworks, Fritz Haeg, Future Farmers, Mel Chin, Clarissa Tossin, Sky Hopinka, Meredith Leich, Kelly Jazvac, Eve Mosher, Kathy Jetñil-Kijiner and Aka Niviâna, Allison Janae Hamilton + more). The media you work in will be defined by your ideas/content. An iterative process beginning with researching, brainstorming and feedback on preliminary sketches, prototypes or models, culminates in three major projects with group discussion exploring different forms for critique.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: NIGHTMOVES | 1022 (012) | Elena Ailes | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, we will ground our creative research and production through the very broad lens of ‘the night’. Nighttime and darkness will be approached both metaphorically and literally and will be used as the starting point for collective and individual inquiry, contemplation, and creative work. Some of the themes this class will explore include: the night sky, vision and lack thereof, dreams and hallucinations, stories you tell in the dark, horror, surveillance, secrecy, night work, night parties, grief (personal and ecological), and ‘the unknown’. Through writing exercises, readings, site visits, group discussions, long form research processes, and critique, members of this class will be supported in the production their own work alongside the production of new, hopefully generative, questions. Some of the writers included in the course syllabus are the poets CA Conrad and their (Som)atic Rituals for a Future Wilderness, Can Xue and Layli Long Solider, as well as essays by Eugene Thacker, Hanif Abdurraquib and Ursula Le Guin. We will look at many artists from around the world that span multiple generations of thinking and making, including Tuan Andrew Nguyen, Wu Tsang, Louise Bourgeois, Pierre Huyghe, Lygia Clark, Vaginal Davis and many, many more. This course is non-medium specific, and open to students working in all media. Though coursework will vary, students can expect to create 3 projects for critique, as well as one semester-long, practice-based research project.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Changing the World | 1022 (013) | William James McGuinness | Wed
9:00 AM - 3:00 PM In Person |
Description
Does art make a difference? Can it shape society? Can it change the world? Socially engaged art affirms that everything we do has an impact, however small or imperceptible, and that the world – as opposed to having an independent existence somehow beyond our influence – is actually a collaborative work of art, constantly evolving and expanding through our collective co-creation of it. This course explores how understanding ourselves to be actors in the world, citizens local and global, may change how we conduct our lives and practice our art. Moving beyond the confines of the studio, gallery, and museum, we will consider work by practitioners such as Prison + Neighborhood Art/Education Project, Los Angeles Poverty Department (LAPD), Pedro Reyes, Ai Wei Wei, and others as a pathway to understanding the social and political implications of own our work. Boldly assuming co-authorship of the structures that inform our shared existence, we will look at how art-making becomes world-building, how culture becomes justice, how creativity becomes social change. Students can expect to read, write, walk, talk, think, and breathe in this course, where we will imagine and realize art projects that directly engage and change the world.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Playing In The Dark | 1022 (014) | Delano Dunn | Fri
9:00 AM - 3:00 PM In Person |
Description
What would we be or do or become as a society if there were no ranking or theory of blackness?' - Toni Morrison Through studio assignments and readings, students will create works exploring the idea of The Other. Students will study the history and artistic practices of black artists, creating works that embrace the themes and methods that these artists have explored. The artistic practices of Cerrie Mae Weems, Kara Walker, Glenn Ligon, in addition to others, will serve as an introduction to works about Otherness. Students should expect 4-5 assignments in addition to readings. Assignments will be accompanied with critiques.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Slowness | 1022 (015) | Amy Vogel | Wed
9:00 AM - 3:00 PM In Person |
Description
In our increasingly fast world, what is the value of slowness? What happens when we purposely slow down or are forced to slow down, in our making and thinking? Does slowness equal exclusion and FOMO or does it, or can it, have cultural purpose and value? How might puttering be regarded as a research practice? Some of the subtopics covered in this studio class will include: the still life in relation to the slow life, loiterature, growing things, movement, drifting, the Slow Art Movement, and slowness as a perceptual practice.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Monsters | 1022 (016) | Alison Ruttan | Wed
9:00 AM - 3:00 PM In Person |
Description
The book Monsters: A Fans Delemma' by Claire Dederer wrestles with the question “Can we separate artists own bad behavior from an appreciation of their art?” This book main question is a starting point to look at moral questions, to take aim at our monsters, to make parody of, or say your truth. In this course we will research and make art about the role of the monsters in life, politics, art, literature and film. Assignments may explore quasi-fictional narratives, the politics around difference and the psychology behind our enjoyment of horror. You may also wish to consider the monster as a tragic comic character worthy of your affection. I see this course as a meandering conversation around ethics and how you can frame your questions within an art practice. Artists Kara Walker, David Altmejd, Amy Cutler, Murikami, Cindy Sherman, Lee Bul, Alex Da Corte.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Now is the New Now | 1022 (017) | Steven Heyman | Wed
9:00 AM - 3:00 PM In Person |
Description
Time passes, things change. How do artists work with time, in kinetic and static mediums, in ways that deliver time sensitive materials and convey meaning and heightened understanding of the human condition? From time management to time travel and beyond, how does our past shape our present, what do we project for the future? What shall we make today? In this course, initial assignments are geared toward the development of independent studio projects, informed by student research, discussion and critique, with the emphasis on building a body of work, a sustained practice, one piece at a time. Looking at artists such as Kameelah Janan Rasheed, Vija Clemins, Nick Cave, Josef Koudelka, Roni Horn, Malcolm McLaren, Paul Pfeiffer, Miller & Shellabarger, Felix Gonzalez-Torres, Rodney Graham, Luc Tuymans, Pipilotti Rist, and Tehching Hsieh, we will explore, and put into practice process/concepts such as simultaneity, time loops, portraiture, slow motion, memento mori, time lapse, linier and non-linier narrative, eternal art, and cinematic time tropes. Selected reading from texts such as Einstein’s Dreams by Alan Lightman, and Society of the Spectacle by Guy Debord. Over the course of the semester, students will produce 3 five week projects in the medium of their choice. Course work and activity will include studio time, prompts, readings, field trips, small group meetings, documentation of practice and critique.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Are we in a Simulation? | 1022 (018) | Joseph David Belknap | Thurs
9:00 AM - 3:00 PM In Person |
Description
Are we in a Simulation? “Our feelings are our most genuine paths to knowledge.” ¿ Audre Lorde 'there is urgency in coming to see the world as a web of interrelated processes of which we are integral parts, so that all of our choices and actions have consequences for the world around us.' - Alfred North Whitehead This research class investigates philosophy, science, and literature that question the theories of consciousness, identity, and social constructs. In consciousness we will look into metaphysics - the study of reality - which will lead us into phenomenology and existentialism. In science, we will reference the philosophical implications of the subatomic world, which has led us to the philosophies of futures and multiverses. Are we in a simulation? This will be a reoccurring question throughout this class. Through this question, we will look toward the revolution of self-realization through Black, Queer, Feminist, and Indigenous writers, scholars, artists, and philosophers. We will read/listen, discuss, and make art in response to these ideas and conversations. This course will focus on its production through the use of the program Blender. Blender is a 3D sculpting, modeling, fabrication, and animation program that enables world-building through light, color, texture, physics, and shading. We will start with the basics in this class and work our way into larger-scale projects. No prior knowledge of Blender is needed, however, the program does require an investment of time and problem-solving to improve creative possibilities. This class will meet to discuss topics and produce responses to conversations in Blender, which will also be taught in class and through video project recordings from online, myself, and recorded Blender Club videos. Some paths of thought we will reference : (more authors will be introduced than what is listed ;-) Metaphysics - The pluralities of Worlds - David Lewis Existential Philosophy - Jean-Paul Sartre, Simone de Beauvoir Simulation Theory - Nick Bostrom, Sylvester James Gates Quantum Theory - Einstein, Max Planck, Neil DeGasse Tyson Phenomenology- Edmund Husserl Queer Phenomenology- Sara Ahmed Afrofuturism- Samuel R. Delany, Ostavia Butler, W.E.B Du Bois Mythology- The Power of Myth - Joseph Campbell Post Humanist Theory - The Cyborg Manifesto - Donna Haraway Object-Oriented Ontology- Graham Harman The Uncanny - Eyes of the Skin -Juhani Pallasmaa Queer Ecology - Michel Foucault, Judith Butler Kink - brontë velez Note: all readings will also be available as audio and ideas will also be supplemented with podcasts and videos. Lastly, you do not need any previous knowledge in any of the referenced fields - just a deep curiosity and intense curiosity.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
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Credits |
DepartmentLocation |
| RS:Yes, and... | 1022 (019) | Susan Giles | Thurs
9:00 AM - 3:00 PM In Person |
Description
How do the rules and concepts in improvisation relate to broader social themes and histories? How can they inform your work in visual art and design? This class provides you with the opportunity to develop a series of works in response to our exploration of Yes, and… improvisational practices.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
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Credits |
DepartmentLocation |
| RS: Exploring random chance in creative practice | 1022 (020) | Yoonshin Park | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this interdisciplinary research course, the class will focus on the exploration of interwoven relationships among randomness, chance, and creativity. We will delve into experimentation that involves planned and intuitive decision-making processes and question the hidden forces that often come out as motivation and inspiration that shape artists' work. What factors make some accidental decisions successful, and what information can be drawn from intended plans? With collected qualitative data, we will uncover the concerns that drive artistic practices and how serendipity can play a pivotal role in shaping one's creative path. Artists/Works/Screening/Reading/Content Area Examples: ''An Anecdoted Topography of Chance,'' a book by Daniel Spoerri that intersects storytelling and visual art, will serve as a starting point to explore the concept of randomness in art and life. We'll explore the writings of John Cage, whose compositions often incorporate elements of randomness, as well as the works of visual artists like Jean Arp and Max Ernst. Our readings will encompass not only ''An Anecdoted Topography of Chance'' but also foundational texts on Dadaism and Surrealism. Through screenings and discussions, we will use films such as ''The Artist is Present'' and collections of sounds and movements as supplemental research materials. Assignments/Projects: Assignments in this course will include weekly reflections on chance encounters and decision-making, two bodies of work for mid-term and final, and a group project.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Waste Not Want Not: Sustainable Art Practices | 1022 (021) | AJ McClenon | Fri
9:00 AM - 3:00 PM In Person |
Description
As humans what is our relationship to objects and the planet that we reside on? As artists is it our responsibility to have a sustainable practice and should we be actively aware of our material footprints? After breaking down the life and journey of objects and their material footprints and looking to nature and the city as ephemeral material we will intentionally approach materials, objects and our environments; engaging in recycling, exchanging and repurposing practices. We will get to know sustainable practices such as bio art, closed loop fashion, eco design, ecological art, land art, renewable energy sculpture and upcycling; looking at artists such as Chakaia Booker, Brian Jungen, Choi Jeong Hwa, Suzanne Anker, Patricia Johanson and many more. Students will read through the catalogue book for the 2005 exhibition : ''Beyond Green: toward a sustainable art,'' that was shown at the Smart Museum of Art. We will also visit relatable shows in the Chicago area. To seek more affordable and sustainable ways to art shop and find previously used materials we will be visiting Chicago locations such as The Wasteshed and Creative Chicago Reuse Exchange. Students will engage in a material/object study where they choose one material or one object to research and then create a final piece that represents this material or object: sculpture/installation, short film, fashion line, or another proposed medium approach.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: artist/curator: one thing is next to the other | 1022 (022) | Troy Daniel Briggs | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the dynamic relationships between objects, spaces, and the city itself. Our focus is on the interplay of art within its surroundings, exploring site-specificity and the expansive range of public art. By examining these concepts, you'll gain a deeper understanding of how art shapes and is shaped by the environments it inhabits. Readings, guest lecturers, tours and screenings will vary and will be responsive to students' needs, starting with a core set of Nina Katchadourian, Francis Alys, David Hammons, Susan Stewart, Duchamp and any of my curator friends I can get to join us. This is a class for people who get excited engaging in critical discourse and are ready to push boundaries. Three of the four projects are studio projects and will focus on how you as an artist can use this understanding to approach your work while the fourth semester-long project will give you the opportunity to curate a show or publication of your own design.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Sound:Image | 1022 (023) | James Paul Wetzel | Fri
9:00 AM - 3:00 PM In Person |
Description
Sound is an undeniably physical material but also fleeting in nature. It is a momentary touch of vibrating magic that can reveal to us much more than the plane of sight. This course emphasizes the relationship between the ear and the eye, and students will research and explore various methods of harnessing the power of sound for new ways of making art and music. Students will work across disciplines, creating music, images, and objects in order to more effectively connect the planes of sight and sound. Research will cover a wide array of artists and musicians ranging from Kurt Schwitters to Aphex Twin and will be complemented by listening sessions. Studio projects may culminate in the form of musical performances, and collaboration with other students will be encouraged. The music, texts, and artwork of Sun Ra will be a primary creative resource, and students will be given the opportunity to explore and research within the vast Sun Ra/El Saturn collection at the Experimental Sound Studio.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: You Have Many Teachers / Companion Species | 1022 (024) | Kayla Anderson | Fri
9:00 AM - 3:00 PM In Person |
Description
Botanist Robin Wall Kimmerer states ''We Americans are reluctant to learn a foreign language of our own species, let alone another species. But imagine the possibilities…the access we would have to different perspectives, the things we might see through other eyes, the wisdom that surrounds us. There are intelligences other than our own, teachers all around us. Imagine how much less lonely the world would be.” In this course, we will look to non-human teachers to guide us in the creation of artworks, gaining new perspectives on our own human culture, and the wider world around us. Each student will choose one or more companions (plant, animal, etc.) to make work in conversation with throughout the semester. We will look to the work of artists including Aki Inomata, Ellie Irons, Wawi Navarroza, Jumana Manna, Duy Hoang, Zheng Bo, Dao Nguyen, Jenny Kendler, Lindsey French, Joiri Minaya, Otobong Nkanga, Carolina Caycedo, Cathy Hsaio, Rosana Paulino, Joscelyn Gardner, and Karolina Sobecka; and writers including Octavia Butler, Jamaica Kincaid, Robin Wall Kimmerer, Donna Haraway, Janice Lee, Heather Davis, JD Pluecker, Jessica Hernandez, and CA Conrad. Students should expect to produce a body of work consisting of 3-5 finished pieces during the semester, along with generative reading and writing exercises. Students may choose to work on a collaborative project / body of work with one or more classmates.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Killing Joke: Humor and the 'Modern' | 1022 (025) | Benjamin Melamed Pearson | Fri
9:00 AM - 3:00 PM In Person |
Description
There's something funny about Humor, but what is it, really? Humor has served as an indispensable lens through which to view (and laugh at) Modern life. This class aims to look very seriously at unseriousness. If humor is something that was previously used to set the boundaries between Human and Non-Human, what would humor mean in a Modern world where the binaries of Human/Machine, Human/Other and Human/Animal, are always in crisis? This class looks at artists who use humor in their work and asks why they use it, what does it do, what are its limits and possibilities? As points of departure and inspiration, we look to the critical irreverence of Fluxus, the anxious object-ness of Concrete Comedy, the subversive refusal of Carrie Mae Weems and the Queer kitsch of Tom Rubnitz (just a very small sampling of artists covered) as an invitation to laugh towards liberation. Course work consists of readings, screenings, guest speakers and discussions, centered around 3 major projects. The body of art work a student produces in this class encourages a diversity of approaches, mediums and interests, rooted in an attuned sens(es) of humor. Readings include: Henri Bergson, Simon Critchley, Paul Gilroy, Sigmund Freud, Sylvia Wynter, Sianne Ngai, Lauren Berlant, Ann Peligirini.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Context Is the Only Medium That Matters | 1022 (026) | Pablo R Garcia | Fri
9:00 AM - 3:00 PM In Person |
Description
Your work—no matter the media—could mean different things based on its context. A curated group show, for example, contextualizes your work in relation to other works in the exhibition. A ten-second clip of your hour-long performance shared online risks being “taken out of context.” Each of us makes choices about how our work is seen: we exhibit, document, share on social media, and format images into portfolios. In contemporary life, we also make work that can be reappropriated (or stolen), misunderstood, or reach audiences we don’t expect. Everything you make can be endlessly recontextualized whether you intend it or not. In this studio course, we will examine the impact of context on the things we make. Through creative projects, readings, screenings, and field trips, we will critically review concepts about remixing, documentation strategies, authenticity, theft, scarcity, “going viral”, fame, and randomness in art and design practice. You spend your time at SAIC learning media across different disciplines. What if context itself is a medium you learn to craft?
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Queer BIPOC Arts and Occult | 1022 (027) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
Art & the oc·cult | ¿'k¿lt | supernatural, mystical, or magical beliefs, practices, or phenomena. In this course we will explore the ways that the occult is entangled with art, art making, and artists in a queer BIPOC lens. To many artists, art making is a ritualistic practice and to some spiritual practitioners, art making is a tool for healing. We will investigate works by artists such as Felix Gonzalez-Torres, Ana Mendieta, artists that sit in a plane of art and the occult. We will also explore spiritual practices that involve art making as healing such as the Navajo sandpaintings. Students should expect to produce a body of work consisting of 3-5 finished pieces during the semester, to be presented in a culminating course critique as well as a written essay.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Aesthetics from the Margins | 1022 (028) | David Lozano | Fri
9:00 AM - 3:00 PM In Person |
Description
Are aesthetics relevant? Do you appreciate how objects and images are made and the experience it gives your audience? This course focuses on technique and the lineage of craft and design and how it relates, celebrates or displaces the marginalized. The “marginalized” can be low-brow or high-brow. But often it is art that is under-represented due to race, heritage, sex, gender or economics. Course work will vary but typically includes biweekly readings, lectures or video responses. There will be 3 critiqued projects in response to your researched topics. Included but not limited to for discussions are works by Jeffry Gibson, Ebony Patterson, Nicole Eisenman, and Mel Chin, and readings by Susan Sontag’s Notes on Camp, Crispin Sartwell’s essay on Wabi Sabi and David Batchelor’s book on Chromophobia.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: GENERAL THINGS | 1022 (029) | Evan Fusco | Tues
3:30 PM - 9:15 PM In Person |
Description
A small stone you keep in your pocket to rub for good luck. That one frame you can’t find a picture for, but you keep anyway. The old piece of furniture you got from your grandparents and keep even though you don’t know what it’s used for. Large slabs of concrete that grab your attention on your walks home because of their abandonment. A favorite t-shirt. The specific chords in your favorite song. Viruses in your computer and your body. The color blue. Thing as a word can denote all of these, as well as a whole universe of other things. It’s the word we use when the other is on the tip of our tongue, refusing us. Social things, promiscuous things, general things. In this class we’ll explore them all and more, with an emphasis on our relationship to them, and their relationship to each other. Thinking seriously about abstraction, formalism, performance, found object, and other 20th century avant-garde practices you will develop a practice around the thing as the non-human and examine how a relationship to things can operate as a research practice. As the art critic and collector Leo Stein put it, “Things are what we encounter, ideas are what we project.” This class is about encounter. The class is split up into four modules: “The Social Life of Things” where we explore our personal universe of things and begin to gather; Breakdown/Abstraction where we take this apart, glue it back together, zhuzh it up, and rethink ourselves in relation; Bodies where we begin to formalize works in relation to these things; and finally Platforms/Ensembles where we think them as a whole, as an exhibition, as something to grow with. We will look at artists such as Robert Morris, Devin T. Mays, Gordon Hall, and Thornton Dial and thinkers such as Fred Moten, William J. Simmons, and Jane Bennett. Each week will combine making and thinking as one and the same. Each module will build on the last with the goal of creating a body of work at the end of the semester that will allow for further thinking and making as you move into your sophomore year.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: use your words | 1022 (030) | Nia Easley | Tues
3:30 PM - 9:15 PM In Person |
Description
we will be thinking about textual approaches to art-making - both n the sense of making work with language/text and using a written approach to generate ideas for work. we will look at several examples of artists' work that uses language through visits to the joan flasch artists book collection, the roger brown study collection, mca, smart museum of art, etc. Students should expect to produce a body of work consisting of 3-5 finished pieces during the semester, to be presented in a culminating course critique.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: MUSICAL MAKING | 1022 (031) | Corey Smith | Tues
3:30 PM - 9:15 PM In Person |
Description
In this course, we’ll look to musical practices as a source of artistic inspiration — how opening our ears might also open our minds. The class will gather around the concept of “music,” but the work we make will emerge in any and all mediums. (In other words — no musical experience required!) Our task to is to see the ways that musical experiences of time, emotion, and meaning might offer us alternative perspectives on the techniques of the art school — making images, writing words, designing social spaces, making performances, and much more. We’ll look at artwork that takes inspiration from music and study the long history of cross-medium dialogue — from Renaissance music and painting, to the Black Arts Movement, to contemporary multi-hyphenates like (gulp) Kanye West. In class, we’ll listen to all kinds of music from around the world — from free jazz to galeman, reggaeton to hyperpop, classical to heavy metal — and consider how they suggest visual and conceptual forms. Sample listening: Roscoe Mitchell, Laurie Anderson, Debussy, Julius Eastman, Perfume Genius, The Paradise Bangkok Molam International Band, Arca, Vicente Lusitano, DJ Rashad, ROSALIA. Readings include: Pauline Oliveros, John Cage, Richard Schechner, Fred Moten, Christopher Small, Nicholas Payton, R. Murray Schafer. Course work will include weekly listening (both in class and on our own) as well as three large assignments with corresponding critiques. We’ll focus on slowly building a body work emerging from our personal practice, particular interests, and the music we find swirling around our lives.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Seeing Through Cinema | 1022 (032) | Emily Eddy | Tues
3:30 PM - 9:15 PM In Person |
Description
In this course, we will look through the lens of cinema to consider art making and storytelling. We will also study the contemporary landscape of film and video artwork. In class, we will watch films together and explore how films can inspire our art practices in every medium. We will learn from filmmakers and moving image artists, unpacking the complex relationships between sound and image, the viewer and the screen, and more. We will read cinema theory, analyze films, and explore moving image history together, along with attending film screenings and events. By the end of this course, you can expect to have an introduction to contemporary film, video art, and cinema theory, as well as a working knowledge of film history and groundbreaking filmmakers from the last century. Assignments may include: making artworks inspired by films and videos, writing shot-by-shot analyses, reenacting films, reinventing ways to experience moving images, performing for the camera, and reading film and media theory.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: To Whisper | 1022 (033) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
To Whisper is a course about the residuals. It is about the murmurs that nurture the cyclical nature of research and delves into the inherent reverberations found in the micro and macro. A whisper is a theoretical framework, a poetic device, a gesture, and a boomerang that ricochets through time and space. It is sentient and inanimate at the same time. In this course, locating the whispers that extend into our practices is the central theme and driving force. We will draw inspiration and guidance from the contributions of Senga Nengudi, Eva Husse, Julius Eastman, Martin Puryear, Aria Dean, Ruth Duckworth, Dawn Lundy Martin, Suzanne Jackson, Emmer Sewell, Tina Campt and many others. Alongside weekly field note recordings and observations, three milestone studio projects will help to chronicle each individuals engagement with their own devised methodology and iteration of “whispers” in their practice. The goal of the field notes in conjunction with studio projects will challenge the development of students creative practice and to support pathways to form and give shape to how their own research methodologies inform their practice.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Breathing Bodies in Digital Worlds | 1022 (034) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
In this class we will be learning about and making works that are both somatically engaging and virtually transportive. How can we remain in our bodies while also traveling into different worlds? How can we create portals into a desired reality that we can actually step into? The course will cover methods of immersive installation including sound, projections, haptics, and working in digital environments like New Art City, with 3-D and video elements. We will be looking at artists like Jacolby Satterwhite, Morehshin Allahyari, Pippoloti Rist, Yayoi Kusama, Anti-Body Corporation, Heesoo Leymusoom Kwon, & Peter Burr, reading texts by Octavia Butler, Hito Steryl, Karen Barad, Laura Marks, Resmma Menakem , and Samuel Delaney. Class work will include reading discussions, world-builidng workshops, and somatic exercises, as well as technical demonstrations. Students will work in groups and individually on two major projects, and lead one reading discussion.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Behind the Curtain | 1022 (035) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
In this course, we will examine the relationship of the natural history institution as a means for shaping societal understanding of the natural world. How do we as artists engage in conversations relating to institutional construct and how might that drive content for art making—particularly in this time of planetary crisis? We will discuss artists such as Mark Dion, Camille Henrot, Jenny Kendler, Sky Hopinka, Claire Pentecost, Neri Oxman and Denilson Baniwa, as well as a brief history of museum collection and practices, while confronting its colonial history. Classes will be a combination of lectures, discussion, and multiple visits behind-the-scenes of the Field Museum. Students can expect to create 3-5 projects exploring topics.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Alien: The Monstrous Feminine & the Queer Imag | 1022 (036) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Throughout the course, students will engage in discussions, critical analysis, and research projects that explore the representation of queer gender, sexuality, and identity in works of art and pop culture. This course is an opportunity to challenge conventional perspectives of what constitutes an alien/monster in relationship to queer and queer coded film, art, and pop. The Course will trace the queer imagination through film, art, and critical text . Screenings included ''BOOM!'' with Elizabeth Taylor, ''Cat People'' by Val Lewton, Douglas Sirk films and ''The Brood''. WE will look at the work of Greer Lankton, Bill T Jones, Peter Hujar and Heide Hatry. Readings From Barbara Creed, Julia Kristevas's ''Powers ''of Horror, The Cyborg Manifesto, and Glitch Feminism. Students will be asked to complete weekly reading/screening responses, and three research projects each culminating in a finished work of art and subsequent critique.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Infinite Pocket Studio | 1022 (037) | Alberto Aguilar | Thurs
3:30 PM - 9:15 PM In Person |
Description
Do you feel confined by the walls of the studio and the institution? Are you a wanderlust with an urgency to roam and explore? Do you like to walk and think and make wherever you are? Are you interested in learning how to create a self-imposed artist residency? Are you tired of the cost of purchasing material within the confines of the art store? In this class we will conduct research out on the streets, also known as field research. We will create strategies for researching, making, activating and documenting work while being outside of the studio. Field trips may include Rebuilding Exchange, Centro Romero, the Urban Canopy, a tour of 16th street murals, Compound Yellow, Stony Island Arts Bank, The Chicago Pedway. We will do readings by and study artist such as: The Situationists, Asco, Allan Kaprow, Miranda July, Tehching Hsieh, The Fluxus, Gabriel Orozco, Sophie Calle, Francis Alÿs, Richard Long, Pope L, Janet Cardiff and George Bures Miller, Azikiwe Mohammed among others Visiting artist include: Devin T Mays, Hui Min Tsen and Miguel Aguilar aka Kane One Assignments may include: making a sound work while walking, street collage, public interventions, the Dérive as research, reinventing children’s street games, create a performance that may or may not have happened.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Architecture and the Self | 1022 (038) | Shir Ende | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
In this class we will look into the relationship between the body and architecture. Through different exercises, readings and field trips we will explore those relationships from the intimacy of the room to the public realm of the city. We will experiment in collecting observations on the built environment and will use them as research. Students will engage with different artistic practices and will use the city of Chicago as their field of operation. Students will work on weekly exercises that will be used as research for 3 assignments: intervene and respond, translate, and reimagine architecture through different modes of making. We will look at artists such as Amanda Williams, Edra Soto, Julia Fish, Do Ho Suh, Rachel Whiteread, Deb Sokolow, Valie Export, Francesca Woodman, James Turrell.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: Misusing Software, Remixing Reality | 1022 (039) | Tues
9:00 AM - 3:00 PM In Person |
|
Description
In this course students will explore augmented reality softwares connected to social media and artists’ methodologies for ‘misusing’ commercial software. Primarily creating with Meta Spark AR and Photoshop, we will investigate how artists relate to technologies like mixed reality, facial recognition, blockchain, and AI image generation. We’ll research how and why these technologies are developed and how we can speak to their use from political, cultural, historical and conceptual vantages rather than simply using and being used by them. We’ll consider creators and writers contributing to conversations about artists’ relationships with technology such as Ian Cheng, Jacolby Satterwhite, Hito Steryl, Donna Haraway, David O’Reilly, Rachel Rossin, Everest Pipkin, and New Art City. Students will create augmented reality projects in a wide range of digital and analog approaches, including but not limited to digital 3D, animation, painting, photography, audio, and fashion. Projects will include developing a facial recognition “filter”, plane-tracked digital sculpture or environment, and mixed reality poster or wearable.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS: El Futuro Latino or The Latino Future | 1022 (040) | Armando Román | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Who has the privilege to narrate our lives? What names to we call each other? Who possesses the authority to define our futures? Together, we shall embark on a journey to disentangle, unfurl, and decipher the intricate methods by which Latino artists traverse across mediums and cultures, transcending the complex intersections of class, indigeneity, gender, race, ability, and beyond. Through personal and communal introspection, students will question their own relationship to identity, language, and authorship within their own work. We will research artists across different eras and forms. Drawing inspiration from Martine Gutierrez, Guillermo Gomez Peña, Juana Valdez, David Antonio Cruz, Elia Alba, and others, we will collectively dissect, interrogate, revere, and amplify the themes across their practices. Using these artists as a foundation to our research-based practices, we will posit new and unique ways to describe ourselves, our practices, and our futures in relation to our hybridized identities. Students will be tasked with creating 3 finished pieces during the semester, melding their artistic interests through a research-driven lens fueled by class dialogues, artist presentations, and beyond.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS:Embodied | 1022 (041) | Ginger Krebs | Mon
9:00 AM - 3:00 PM In Person |
Description
In this course we’ll consider bodily phenomena, including the psychology of pain, the beef industry, and wastewater treatment infrastructure. We’ll reflect on metaphysical phenomena that arise from the enigma of living as bodies, like avatars and spiritual iconography, the uncanny, and cuteness. And we’ll direct our research “inward”, notating sensory phenomena, tracking habits and experimenting with different modes of perception. We perceive the world through the filter of our bodies, and project them – not only their shape but also the feelings and myths that accompany them – onto everything we see. Among other things this makes bodies a rich source of metaphor for art making. How might the physiology of a nerve impulse suggest an editing structure for an animation? What would a vertigo-inspired drawing look like? We’ll direct our research toward both art and science, reading case studies of neurologic disorders by Oliver Sacks, and looking at artworks by Tracey Emin, Chen Zhen, Juliana Huxtable, Mika Rottenberg, Wim Delvoye and more. Students will be supported to pursue their individual interests through regular observational assignments, a research presentation and two large-scale projects.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS:Interventions and Transgressions | 1022 (042) | Mathew Wilson | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course invites students to occupy and invigorate public spaces, both physical and virtual. Through site-specific gestures, installed objects, posters, projections and other interventions, students will take their work into places where accidental audiences can be found. Additionally, transgressive art more generally will be examined and discussed. Readings and discussions will focus on Situationism, Social Sculpture and Guerrilla Art, as well as the controversies surrounded the work of Burden, Buren, Kapoor, Serra, The Guerrilla Girls, Act Up, Theaster Gates and others. The class will visit local public works and also become familiar with the challenged status of ‘public space’ in the city. Students would explore through assigned projects the various social contracts that we all experience in our daily and creative lives. For example, the first project would examine the social contracts that exist between the individual and the people and institutions around them. The students would be asked to consider how these contracts and assumptions, so often invisible and unconscious, might be gently subverted.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| RS:Truth Adjacent | 1022 (043) | Paola Cabal | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
What is “True” and how can we tell? Where is the line between uncanny and unreal? What does it mean when we can’t distinguish fact from fiction? To the extent that our understanding of “authenticity” is built on previous, verified experiences, the Truth “adjacent” research studio explores known, well understood, everyday references to generate a sense of doubt and unease. We will read Sigmund Freud’s original essay on the uncanny, and look at artists who leverage recognizable tropes to create unsettling experiences, such as Ron Mueck, Valerie Hegarty, and Robert Gober. We will also explore emerging discussions on AI, considering the implications of these new technologies for our evolving understanding of what truth is. Four studio projects will afford us the opportunity to explore well known, richly referential subjects: The “truth” of objects, the “truth” of spaces/sites, the “truth” of time and memory, and the “truth” of people.
PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Critique | 1031 (002) | C. C. Ann Chen | Tues
8:30 AM - 11:15 AM In Person |
Description
This critique course is offered for students who do not speak English as their first language. Students build competence in giving critiques, participating in class discussions, and giving presentations. Students make artwork to present to the class. They learn and practice the vocabulary of visual and design elements and use these to analyze and critique their own and their classmates' works. Students practice a variety of critique formats by using formal, social-cultural, and expressive theories of art criticism. They discuss and critique works both verbally and in writing.
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Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (003) | Aram Han Sifuentes | Tues
12:15 PM - 1:45 PM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (004) | Aram Han Sifuentes | Fri
9:45 AM - 11:15 AM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (005) | Ned Marto | Tues
4:45 PM - 6:15 PM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (006) | Sonia Da Silva | Wed
12:15 PM - 1:45 PM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (007) | Sonia Da Silva | Thurs
12:15 PM - 1:45 PM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (008) | Suman Chhabra | Mon
9:45 AM - 11:15 AM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (011) | Ned Marto | Thurs
4:45 PM - 6:15 PM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (012) | Sonia Da Silva | Wed
9:45 AM - 11:15 AM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
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Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (014) | Mon
6:45 PM - 8:15 PM In Person |
|
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (015) | Mon
6:45 PM - 8:15 PM All Online |
|
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (016) | Tues
6:45 PM - 8:15 PM All Online |
|
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (017) | Wed
6:45 PM - 8:15 PM All Online |
|
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (018) | Thurs
6:45 PM - 8:15 PM All Online |
|
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Performance | 1101 (001) | Vanessa Damilola Macaulay | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Printmedia Practices | 1101 (001) | Frances Lightbound | Tues
9:00 AM - 3:00 PM In Person |
Description
How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs. Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection
|
Class Number |
Credits |
DepartmentLocation |
| Printmedia Practices | 1101 (002) | Conor Stechschulte | Tues
9:00 AM - 3:00 PM In Person |
Description
How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs. Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 1101 (002) | Mindy Rose Schwartz | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Printmedia Practices | 1101 (003) | Jasper Goodrich | Tues
9:00 AM - 3:00 PM In Person |
Description
How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs. Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 1101 (004) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 1101 (005) | Dan Price | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intro to Writing as Art | 1102 (001) | Tues
3:30 PM - 6:15 PM In Person |
|
Description
This class serves as an entry into the historical, theoretical and practical concerns of creative writing as an art form in itself and as a vital element of interdisciplinary projects. We explore the possibilities of fiction, non-fiction, poetry, plays and hybrid practices as writing for the page, as well as for performance, sound, installation, and image-based pieces. Students are assigned reading and writing exercises, and discuss each other's writing in workshop or small critique sessions.
|
Class Number |
Credits |
DepartmentLocation |
| Intro to Writing as Art | 1102 (002) | James McManus | Tues
12:15 PM - 3:00 PM In Person |
Description
This class serves as an entry into the historical, theoretical and practical concerns of creative writing as an art form in itself and as a vital element of interdisciplinary projects. We explore the possibilities of fiction, non-fiction, poetry, plays and hybrid practices as writing for the page, as well as for performance, sound, installation, and image-based pieces. Students are assigned reading and writing exercises, and discuss each other's writing in workshop or small critique sessions.
|
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section | 1201 (01S) | Thurs
3:30 PM - 5:00 PM In Person |
|
Description
Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations.
PrerequisitesCorequisite: ARTHI 1002. |
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section | 1201 (02S) | Tues
9:45 AM - 11:15 AM In Person |
|
Description
Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations.
PrerequisitesCorequisite: ARTHI 1002. |
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section | 1201 (03S) | Wed
6:45 PM - 8:15 PM In Person |
|
Description
Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations.
PrerequisitesCorequisite: ARTHI 1002. |
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section | 1201 (04S) | Thurs
12:15 PM - 1:45 PM In Person |
|
Description
Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations.
PrerequisitesCorequisite: ARTHI 1002. |
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (001) | James Connolly, Eric Fleischauer | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (001) | James Connolly, Eric Fleischauer | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (001) | Carina Yepez | Mon
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (002) | Mikey Peterson, Daniele Wilmouth | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (002) | Mikey Peterson, Daniele Wilmouth | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (002) | Alexandria Eregbu | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (003) | Paige Taul, Sid Branca | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (003) | Paige Taul, Sid Branca | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (003) | Melissa Leandro | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (004) | Paige Taul, Asya Dubrovina | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (004) | Paige Taul, Asya Dubrovina | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (004) | Kira Keck | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction To Fiber/Material Studies | 2000 (006) | Sofía Fernández Díaz | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction To Fiber/Material Studies | 2000 (007) | Vanessa Viruet | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number |
Credits |
DepartmentLocation |
| Spanish I | 2001 (001) | Nahia Frias-Bilbao | Tues
3:30 PM - 6:15 PM In Person |
Description
An introductory course in reading, writing, and conversational Spanish.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Issues in Visual Critical Studies | 2001 (001) | Kristi Ann McGuire | Tues
3:30 PM - 6:15 PM In Person |
Description
This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Sound | 2001 (001) | Eshovo Momoh | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Construction I | 2001 (001) | Janet Kang | Fri
9:00 AM - 3:00 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudents must be a sophomore grade level or permission by instructor |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 2001 (001) | Juan Angel Chavez | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Issues in Visual Critical Studies | 2001 (001) | Kristi Ann McGuire | Tues
3:30 PM - 6:15 PM In Person |
Description
This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Practice | 2001 (001) | Peter Jorge Fagundo | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction To Sound | 2001 (002) | Austen Brown | Wed
9:00 AM - 3:00 PM In Person |
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Graphic Design | 2001 (002) | Jiwon Son | Tues
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.
PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Practice | 2001 (002) | Andrew Falkowski | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction To Sound | 2001 (003) | Eric Leonardson | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Graphic Design | 2001 (003) | Jiwon Son | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.
PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 2001 (003) | Lindsey Dorr-Niro | Tues
3:30 PM - 9:15 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Beginning Graphic Design | 2001 (004) | Jiwon Son | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.
PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 2001 (004) | Stephanie Brooks | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (005) | Tues
9:00 AM - 3:00 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (007) | Sheridan Gustin | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (009) | Dan Devening | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (010) | Robert Burnier | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (011) | Alexis de Chaunac | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (012) | Josiah Ellner, Sebastian Thomas | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (012) | Josiah Ellner, Sebastian Thomas | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (013) | Elise Blair Bagnoli | Fri
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Beginning Etching | 2002 (001) | Eliza Myrie | Wed
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to basic intaglio methods such as drypoint, soft ground, line etch and aqua tint. Use of specific tools and papers is an essential part of the course. Through examples, discussion and demonstrations students will learn to identify and select methods that suit their expressive needs and concepts.
|
Class Number |
Credits |
DepartmentLocation |
| Comics | 2002 (001) | Sara Varon | Mon
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Arch/Inarch: Ugrd Studio 2 | 2002 (001) | Keefer Dunn | Mon/Wed
9:00 AM - 3:00 PM In Person |
Description
ARCH/INARC Studio 2 is a two-day core design studio that expands the architecture and interior architecture design skills and research capabilities explored in Studio 1. Design projects of increasing complexity and scale are generated, critiqued and refined. Research includes contemporary architecture, site research, urban context, and critical design issues of theory and construction. Students utilize hand sketching, digital visualization, photography, and physical modeling to present design project work with expanding sophistication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO software template.
PrerequisitesPre:ARCH/INARC 2001 |
Class Number |
Credits |
DepartmentLocation |
| Image Studio | 2002 (001) | Sofya Karash | Tues
8:30 AM - 11:15 AM All Online |
Description
Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Woven Structure Basics | 2002 (001) | Danielle Andress | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to floor loom hand weaving through the study of basic weave structures, woven image techniques and fiber types. Traditional and experimental use of material and technique will be used to explore double weaves, painted warps and a variety of hand-manipulated techniques including tapestry, brocade and inlay. Students will study the global histories of woven cloth through a variety of readings, presentations, and class discussions. Works by artists such as Diedrick Brackens, Lenore Tawney, and Gunta Stolzl will be discussed as well as writings by thinkers such as Anni Albers, T'ai Smith, Dieter Hoffman-Axthelm as primary points of departure. Students will study basic weaving draft patterns and will complete independent research into artists and techniques of interest. The conceptual and material considerations of contemporary craft-based art will be a major component of this course. Students will produce 2-6 finished weavings over the course of the semester through their exploration and research of a variety of techniques on 4-harness floor looms.
|
Class Number |
Credits |
DepartmentLocation |
| Comics | 2002 (002) | Johnny Sampson | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Arch/Inarch: Ugrd Studio 2 | 2002 (002) | Hennie Jurie Reynders | Mon/Wed
9:00 AM - 3:00 PM In Person |
Description
ARCH/INARC Studio 2 is a two-day core design studio that expands the architecture and interior architecture design skills and research capabilities explored in Studio 1. Design projects of increasing complexity and scale are generated, critiqued and refined. Research includes contemporary architecture, site research, urban context, and critical design issues of theory and construction. Students utilize hand sketching, digital visualization, photography, and physical modeling to present design project work with expanding sophistication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO software template.
PrerequisitesPre:ARCH/INARC 2001 |
Class Number |
Credits |
DepartmentLocation |
| Image Studio | 2002 (002) | Donald Pollack | Thurs
9:00 AM - 3:00 PM In Person |
Description
Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (003) | MJ Lounsberry | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics:Drawing Outside The Boxes | 2002 (004) | Jeffrey David Brown | Tues
9:00 AM - 3:00 PM In Person |
Description
It can be easy for students to become so focused on the final product of art making that they lose sight of the importance of process. To that end, this studio class aims to encourage students to play and experiment within the medium of comics, creating projects with methods they wouldn?t normally use, and avoiding the urge to fall back on their usual or expected ways of working. Students will not need to worry about making a great piece of art, and instead can learn more about their own art practice and what does or doesn?t work for them. This class will look at a variety of artists, genres, and forms in the comics medium. The types of comics investigated may include everything from traditional superhero genre comics, to handmade art comics, graphic novels, abstract comics, newspaper gag comics, and even content that may or may not be considered comics, depending on how one defines ?comics.? Students will also be encouraged to share their favorite comics or whatever they?re currently reading, and to look into books and comics they aren?t familiar with. After casual critiquing of the previous week?s work, each class begins a new project or exercise that starts with a prompt or general parameters, which students use as starting points to follow in whatever direction interests them.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (005) | Cecilia Beaven | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (006) | Bianca Xunise | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Remote | 2002 (007) | Tues
6:45 PM - 9:30 PM All Online |
|
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Autobiography | 2002 (008) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
This course explores nonfiction narratives told in the first person. Students will read and discuss examples of memoir, personal essay, journalism, and diary comics, as well as more experimental formats. Truth, point of view, and ethics will be examined, particularly in how they work along with storytelling, tone, style, and other formal aspects of comics. The work created by the students will vary broadly based on their interests and personalities, with the general goal of self-examination. Readings and guest artists will vary each semester. Selected readings include graphic novels and mini-comics that have been published recently by both large publishers and self-published by individual cartoonists. Skype visits allow students to ask questions of comics artists, critics, publishers, and distributors. Past guests have included artists Julia Wertz, Carta Monir, Summer Pierre, and John Porcellino, Lauren Weinstein, critic Rob Clough, and publisher Raighne of 2dcloud. Some additional artists that I often introduce are Gabrielle Bell, Vanessa Davis, Lisa Hanawalt, Sarah Gliddens, Karl Stevens, Kevin Budnik, Roz Chast, Cara Bean, and Liana Finck. Students will reproduce 16 copies of a 24 or more page comic, which will be distributed to the class during the final critique. They will complete one or more pages each week, which will be critiqued and discussed throughout the whole semester. Students will read several books and online comics, which will be discussed in class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (009) | Marnie Galloway | Thurs
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics of the Fantastic | 2002 (010) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Horror, Science Fiction and Fantasy comics began as popular entertainment, intended to sell units on newsstands with lurid cover art and shocking story titles, but artists have always used the genres to investigate such complex topics as identity, illness and the body, and to lay bare the structural forces behind racism, sexism and political oppression. Students will read some classic works as well as a handful of contemporary pieces that use genre as a jumping-off point. Throughout the class, they will make a number of short comics that investigate contemporary life through the lens of the fantastic, to be collected and presented in the form of a printed zine.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (011) | Sara Varon | Sat
10:00 AM - 4:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics:Advanced | 2002 (012) | Jeremy R Tinder | Sat
10:00 AM - 4:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (013) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Lithography | 2003 (001) | Brian Joseph Rush | Mon
9:00 AM - 3:00 PM In Person |
Description
In this course students are introduced to stone lithography. Through this planographic printing process it is possible to translate hand-drawn and hand-painted images into multiples and/or multi-color pieces. Emphasis is placed on gaining a thorough understanding of the techniques and principles of lithography through class demonstrations, instruction, individual projects, discussion and critiques.
|
Class Number |
Credits |
DepartmentLocation |
| Arabic I | 2003 (001) | Wael Fawzy | Tues
6:45 PM - 9:30 PM In Person |
Description
Arabic I ???? is a fully integrated introductory course for students with no background in the language. The course is designed for beginning students whose learning objectives and needs are in any of the following categories: continued language study, business purposes, or travel. Students will learn to speak and understand Modern Standard Arabic (MSA) and read and write Arabic script. Students will develop speaking and listening skills through audiovisual media, interactive fun activities, and paired dialogue practices. There will be a strong emphasis on oral proficiency needed to provide the necessary framework to communicate clearly and effectively. These objectives will be achieved through the following approaches: speaking, listening, reading, writing, and cultural studies.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Color | 2003 (001) | Steven Husby | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice. In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Construction II | 2003 (001) | Pamela Vanderlinde | Fri
9:00 AM - 3:00 PM In Person |
Description
Fashion Construction II builds the fundamentals of construction through a unique combination of pattern drafting, draping on the form, and sewing techniques, expanding to principles of the torso block, shirt-, and dress variations, as well as adding more variance in finishes and closures. Students develop and construct design concepts and explore variations, first in muslin, then in fabric, and will complete 2 garments. Pre-req: FASH 2001
PrerequisitesStudent must have completed FASH 2001, 2022, or 2024 |
Class Number |
Credits |
DepartmentLocation |
| Slow Photo | 2003 (001) | Robert Clarke-Davis | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who have a basic knowledge of photography and its materials and an interest in the use of the photo image as part of a broad vocabulary of image-making processes. Students explore cyanotype, van dyke brown, gum bichromate printing, collage, reproduction, and transfer techniques, and are given a basic working knowledge of the graphic arts films and print films. Also covered: Polaroid materials, copy machines, computer graphics, and applied color. Ideas related to text, installation, and performance may also be explored. Each student is encouraged to experiment in both silver and non-silver processes and to conduct research independently.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Arch/Inarch: Light and Space | 2003 (002) | Uthman Olowa | Wed
9:00 AM - 3:00 PM In Person |
Description
Light is a miraculous condition both conceptually and physically in the fact that it is a medium which can not be touched or held, etc. Light in combination with space creates containers for the production of what can only be described as auras. The ephemeral conditions which light produces actually changes and alters the spaces we inhabit daily. The course Light & Space is designed to develop and expand both artistic and architectural sensibilities for students in the exploration of natural and artificial light as a medium. This one day a week studio is structured around a series of lectures about the comparison between Architects and Artists through exercises involving both physical and digital models within the city of Chicago. The exercises will introduce students on how to construct and assemble spaces in order to control light and the effects it has on inhabitants of architectural surroundings. The instructors of Light & Space present a series of case study comparisons between architects and artists as a means to open the possibilities for extreme experimentation within the studio setting. Students final project of the semester is the curation of the collection of imagery designed and rendered via all exercises, but open ended for each individual student?s interpretation and personal expression of social, political, and gender issues, etc. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
|
Class Number |
Credits |
DepartmentLocation |
| Color | 2003 (002) | Sam Jaffe | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice. In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Print for Fabric and Alternative Materials I | 2004 (001) | Sarita Garcia | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, a wide range of processes for screenprinting onto fabric and alternative substrates are demonstrated, including the use of textile inks, fiber reactive dyes, resist and discharge, and heat transfers of foils and disperse dyes. Students will use hand drawn, computer generated, and photographic images to explore foundational screen print techniques and concepts such as monoprinting, multiples, color relationships, composition, and basic repeat patterns. Interdisciplinary and experimental uses of the printed surface are encouraged throughout the development of personal research and practice. The class is augmented by relevant lectures, readings and visits to AIC, artist studios and galleries. Students present finished and in-process works at three critiques throughout the semester.
|
Class Number |
Credits |
DepartmentLocation |
| Form and Meaning | 2004 (001) | Tues
8:30 AM - 11:15 AM In Person |
|
Description
Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework. A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class. Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Form and Meaning | 2004 (002) | Edgar Jorge Baralt | Wed
8:30 AM - 11:15 AM In Person |
Description
Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework. A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class. Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Stitch | 2005 (001) | Christian Ortiz | Mon
9:00 AM - 3:00 PM In Person |
Description
This course explores various approaches to altering, enriching, and transforming the surface of pliable materials and forms. Emphasis is on the surface treatment and its relationship to structure while using conventional and non-conventional materials. Students work with a broad range of hand and machine stitching techniques that can include embroidery, embellishment, piecing, quilting, applique, and working with treatments like paints, dyes, adhesives, and collage. Special attention is paid to the histories of these techniques and how they are being utilized in contemporary art. Technical demonstrations, assigned readings, group discussions, lectures and field trips will augment student learning. The course is structured to support students in the development of their studio arts practice by equipping them with a variety of technical skills and encouraging them to pursue projects driven by their own formal, material, and conceptual concerns. Individual and group critiques are integral to the course. Course work will vary but typically includes the creation of samples, critique projects, and reading responses.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Screenprinting | 2005 (001) | Marylu Herrera | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course, students acquire technical proficiency in the various stencil printing methods. Individual exploration and development in the medium is encouraged and supported by individual instruction and group critiques.
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Class Number |
Credits |
DepartmentLocation |
| French I | 2005 (001) | Elizabeth Chalier-Visuvalingam | Mon
8:30 AM - 11:15 AM In Person |
Description
An introductory course in reading, writing and conversational French.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Sonics and Optics | 2005 (001) | Kioto Aoki | Mon
9:00 AM - 3:00 PM In Person |
Description
Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work. In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Shape And Theory In Garments | 2005 (001) | Bambi Deidre Breakstone | Tues
9:00 AM - 3:00 PM In Person |
Description
Explorations in the design of 'experimental' garments using the basic elements of mass, volume, form and motion. Rather than concerning themselves with current design trends or regular fashion problems, students emphasize bodies as forms in motion or as moving sculpture.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Throwing: Multilevel | 2005 (001) | Nancy Fleischman | Tues
9:00 AM - 3:00 PM In Person |
Description
This multilevel class is for students with or without experience in wheel throwing. Beginning students are introduced to ideas, materials and techniques for throwing vessels. They acquire the necessary skills to construct and analyze a wide range of vessel forms. Intermediate and advanced students continue their individual development of throwing, glazing and firing kilns. Course discussions focus on issues around the vessel to acquire critical understanding of containers and their functions, as well as using the wheel as a means for constructing sculptural forms.
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Class Number |
Credits |
DepartmentLocation |
| Sonics and Optics | 2005 (002) | Daniele Wilmouth | Fri
9:00 AM - 3:00 PM In Person |
Description
Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work. In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sketching for Designed Objects | 2005 (003) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
This course will provide the student with the skills to create design concept sketches (ideation/thinking) that will communicate with the viewer and visualize the design concept as a design object using sketch renderings to define and communicate the object's form and function. Instructions will focus on freehand marker sketching for ideation/thumbnails, shading, form development and rendering, followed by orthographic projection (measured technical drawing) and two-point perspective. Each of these skills will be demonstrated in class and on a one to one basis during the semester In each class I will share design drawings from my collection that show a history of sketching styles for presentations using Prismacolor Pencils and NuPastels to markers, along with marker drawings for clients that I and other designers have created in product, packaging and display projects. These presentations will also be used to lecture on the history of design drawing styles and techniques. Students will be given three design projects in which they will go through the design process of starting with ideation sketches, followed by design selection, renderings and an orthographic drawing of the final design. The first project focuses on the development of forms, the next two projects have an emphasis on ideas and drawing skills. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Etching:Multi-Level | 2006 (001) | Anna Laure Kielman | Mon
9:00 AM - 3:00 PM In Person |
Description
Students learn methods used in making intaglio prints. Demonstrated techniques include etching, drypoint, and engraving, as well as a variety of experimental approaches to plate making and printing.
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Class Number |
Credits |
DepartmentLocation |
| Accessory Design | 2006 (001) | William Walton | Fri
9:00 AM - 3:00 PM In Person |
Description
In this workshop, students create various accessories from original ideas. This program is divided into projects such as the design and construction of embellished evening bags, summer totes, gloves, costume jewelry, and millinery. Emphasis is placed on references to history of individual accessories and developing collections of illustrations in color.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Fashion Illustration | 2007 (001) | Laura Mae Noble | Tues
9:00 AM - 3:00 PM In Person |
Description
This course develops drawing skills with an emphasis on figure gesture and proportion along with a wide range of media. Students are taught to sketch from a live model while communicating design concepts in clothing with style and expression.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Fashion Illustration | 2007 (002) | Dijana Granov | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course develops drawing skills with an emphasis on figure gesture and proportion along with a wide range of media. Students are taught to sketch from a live model while communicating design concepts in clothing with style and expression.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Chinese I | 2008 (001) | Marie Meiying Jiang | Tues
6:45 PM - 9:30 PM All Online |
Description
Chinese I is designed for beginners who take Chinese as a foreign language. Students who speak Chinese as their native language are not allowed to attend this course. Students who have taken Chinese study in the past are required to take the evaluation test and gain approval of the instructor to enroll. Students will study the Chinese Mandarin sound system PIN YIN, the basic strokes from the Chinese Calligraphy, Chinese numbers, common Chinese Radicals and Lessons 1-5 of <<Integrated Chinese>> (Level 1 Part 1). Students can speak and write systematically more than 150 essential vocabulary words, master the key grammatical structures, build the real-life communicative skills. They will also write and tell a story about themselves and their interests on Chinese paper utilizing 150 characters.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Self(ish): The Fantasy of Autobiographical Performance | 2008 (001) | Vanessa Damilola Macaulay | Tues
9:00 AM - 3:00 PM In Person |
Description
Throughout the course, we will engage deeply with themes of the 'self', exploring the 'I' in the world. Autobiography in performance can encourage self-reflection, creation, and the exploration of one’s identity as it changes; it also allows us to imagine who we might become in the future. While using personal experience as a starting point, it is essential to forge some distance between yourself and the work when working with autobiographical material. Therefore, students will engage with the self-ish, exploring the interplay between fact/fiction, personal/political, and real/imagined. Autobiographical performance art validates the intersectionality of multiple identities through experimentation with the meanings of identity labels and the potential discovery of ways they intersect, separate, and coincide with race, gender, class, sexuality, and ability. Throughout the course, we will explore the various modes artists have utilized autobiography. An example of the artists we will examine below: Greg Wohead, Bill T Jones,Bryony Kiimmings, Selina Thompson, Zanele Muholi, Lina Iris Viktor and Lizz Aggiss. Alongside the artistic case studies, the key texts for this course include: Bruno, S. and Dixon, L. 2014. Creating Solo Performance (Oxon & New York, Routledge); Heddon, D. 2008. Autobiography and Performance (Basingstoke, Palgrave Macmillan); Cavarero, Adriana. 2000. Relating Narratives: Storytelling and Selfhood (Oxon and New York: Routledge); Johnson, J. 2017. Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities (New Brunswick, Camden and Newark, New Jersey and London: Rutgers University Press). Course work will vary but typically includes weekly performance responses in the form of studio labs, a mid-term proposal, and a solo final project.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mold Making and Casting | 2008 (001) | Jeffrey James Matthew Prokash | Mon
9:00 AM - 3:00 PM In Person |
Description
This course offers instruction in various methods of casting, including simple plaster molds, hydrocal-cement casts, simple body casts, thermal-setting rubber molds, wax, terra cotta, and paper casting. Students are advised to bring objects they desire to cast. (No hot metal casting in this course.)
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Class Number |
Credits |
DepartmentLocation |
| Chance and Intentionality | 2009 (001) | Patrick Durgin | Mon
8:30 AM - 11:15 AM In Person |
Description
If a society?s order of reasons disempowers its citizens, why not weaponize the irrational? This was the premise of various, systemic reactions against the ?ego? in the midlate 20th century. In Europe, the United States, and former colonies, some of this activity can be read as an extension of the historical avant garde?s investigation of altered states of consciousness and ?madness.? The neo-avant garde sometimes used the tools of rational science to deconstruct its premises, reconstruct the real, and promote a more demotic culture. This course takes an international approach and samples practices and discourses of Dadaism, Surrealism, free jazz, performance and conceptual art, dance, film, ?relational aesthetics,? and experimental poetics. We will place a special emphasis on the way indeterminacy claims to ameliorate conflicts between political commitment and aesthetic quality. Expect to encounter works by Francis Alys, Anthony Braxton, John Cage, Aime Cesaire, Fischli & Weiss, Helio Oiticica, Huang Yong Ping, Jorge Macchi, Jackson MacLow, Gerhard Richter, Apichatpong Weerasethakul, Hannah Weiner, and others. Course work will vary but typically includes weekly written responses, moderate reading assignments, listening and viewing, avid participation in class discussions, one creative/curatorial project, one research presentation, and a final essay.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| German I | 2009 (001) | Kimberly Kenny | Thurs
12:15 PM - 3:00 PM In Person |
Description
An introductory course in reading, writing, and conversational German.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Medium Format | 2009 (001) | Nathan Miller | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course will explore the methods, history and potential of medium format film photography. Students will learn to use a wide variety of medium format cameras including the Mamiya 7, Mamiya RZ 67, Mamiya 645, Pentax 67, Holga and various Hasselblad systems. Using a wide variety of black and white and color medium format films, students will become familiar with several film development techniques, and both analog and digital printing methods to create traditional and experimental photographic work.
PrerequisitesPrerequisite: 3 credits of PHOTO 1000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mechanisms, Movement & Meaning | 2010 (001) | Juan Flores | Mon
9:00 AM - 3:00 PM In Person |
Description
Consider how object based movement creates both meaning and tone, and how movement functions much like non-verbal communication. We'll attempt to approach the technical matters of controlling motion from the aesthetic perspective of an animator or a dancer. The course introduces basic techniques for creating moving parts appropriate for a broad range of creative and material practices. Technical matters covered through exercises include motors, speed control, fabrication of moving parts and simple circuits for motor control. Self-determined projects will demonstrate mastery of skills and concepts.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Spanish II | 2010 (001) | Nahia Frias-Bilbao | Tues
12:15 PM - 3:00 PM In Person |
Description
This is a continuing course in reading, writing, and speaking Spanish. Prerequisite: LANGUAGE 2001 Spanish I.
PrerequisitesPrerequisite: LANGUAGE 2001. |
Class Number |
Credits |
DepartmentLocation |
| Watercolor | 2010 (001) | George Liebert | Fri
9:00 AM - 3:00 PM In Person |
Description
This course explores the materials and methods used in watercolor painting. Included are dry and wet paper techniques, resist processes, and experimental techniques.
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Class Number |
Credits |
DepartmentLocation |
| Vessel Construction | 2010 (001) | Marie Herwald Hermann | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates both on and off-wheel construction techniques. It will explore wheel throwing and various hand building techniques such as: extruding, coil, slab, pinch, slump, and press molding-to produce interpretations of the vessel in contemporary society. The vessel as an enclosure of space is the departure point for discussions that include historical references in a contemporary context, the personal metaphor, and the generation of conceptual and aesthetic development beyond the utilitarian format.
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Class Number |
Credits |
DepartmentLocation |
| Production Design for Theater and Film | 2010 (001) | James Paul | Fri
9:00 AM - 3:00 PM In Person |
Description
Production design for stage and screen is explored, emphasizing the collaborative world of theater and film. Students communicate with playwrights, scriptwriters, producers, and directors to understand their role as artists and designers. From 'no-budget to big-budget' productions, students explore the highs and lows of real world design through various projects. Student design teams create costumes, sets and props to understand the coordination of efficient and supportive group dynamics. Particular connections the off-Loop theater movement and the indie film scene.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Color Concepts | 2010 (001) | Melissa Kreider | Mon
9:00 AM - 3:00 PM In Person |
Description
Color Concepts introduces complex ideas and processes associated with the various applications of color in photography. Emphasis is on conceptual, theoretical, cultural, and perceptual aspects of color related to both vision and photographic image-making. The class explores all aspects of color photography. It traces the roots of analog three-color photographic processes first theorized in 1855, less than 30 years after the advent of black and white photography, and explores the successes and the limitations of color film (for example, the racial bias of color film.) Lastly, the class examines contemporary color dominant popularity amongst artists since the 1970s, through the context of a color constructed digital future. Through a variety of exercises and assignments students will develop a keen eye to seeing color in the world and on the screen, use peer discussion and collaboration to advance critique skills, and build aptitude for visual literacy. Technical skills learned, include image capture, color correction, qualities of light, color corrected printing on varying scales and media, digital camera and medium format film camera authorizations, strategies of presentation while expanding on digital skills introduced in PHOTO 1001.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Creative Process as Art Therapy | 2010 (001) | Claudia Angel | Tues
8:30 AM - 11:15 AM In Person |
Description
This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Creative Process as Art Therapy | 2010 (002) | Joanne Ramseyer | Wed
12:15 PM - 3:00 PM In Person |
Description
This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Digital Methods for Ceramic Production | 2011 (001) | Mark N. Stafford | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 12:00 PM In Person |
Description
A survey of digital design, prototyping, and production methods, this course will familiarize students with the many ways artists and designers use digital technologies to facilitate traditional ceramic practices. Students will be introduced to basic CAD and modeling techniques using Rhino, Grasshopper, Blender, and ZBrush, and to both direct and indirect ceramic production methods using the PotterBot ceramic 3-D printer, AOC 3D scanners, and CDFS laser cutters & 3D printers. The emphasis is not on mastery of any particular program or process, but on introducing students to a wide range of techniques and concepts that they may fruitfully pursue in future work. In addition, students will gain familiarity with the contemporary field of digital production, including current design and manufacturing technologies and the technical, formal, and conceptual uses to which they are put. Artists covered include Matthew Angelo Harrison, Jenny Sabin, Geoffrey Mann, Michael Eden, and Anya Gallaccio. The course will be divided into three sections and will include four preliminary exercises and two projects. The first project focuses on direct digital production and will illustrate the mechanical and operational use of the Potterbot ceramic 3D printer. The second project will transition from direct to indirect production methods, from the acquisition of digital methods to their application, and on the incorporation of digital methods into students? established or developing practice.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (001) | Martha Chiplis | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (001) | Dylan Yarbrough | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (002) | Maura M Frana | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (002) | Robert Clarke-Davis | Fri
9:00 AM - 3:00 PM In Person |
Description
This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (003) | Maura M Frana | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (004) | Riesling Dong | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Objects/Artifacts and No Nonsense | 2012 (001) | Benjamin Larose | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course cultivates a conceptual and interdisciplinary approach to fashion. Through experimentations in object-making, students will engage with traditional and non-traditional materials and processes to question how objects can engage the body. Emphasis will be placed on function through the exploration of constructive processes and placement to body and space. The course is divided in four topical sections: technique meets body, power in wearability, conceptual artifacts and material matters. Students will be introduced to artists who's work is generally associated with other disciplines but engages fashion, body and garment. For example, artists such as Leigh Bowery, Rebecca Belmore, Brian Jungen, Isa Genzken, and the readings/screenings will vary but may include Susan Sontag's Notes on Camp, Malcolm Gladwell's The Cool Hunt or Robert Friedel's Zipper: An Exploration in Novelty. Course work involves four major projects, one for each topical section, as well as in-class discussions, reading responses and presentations. The occasional field trip and follow up in-class discussion can also be included.
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Class Number |
Credits |
DepartmentLocation |
| Type Technologies Lab | 2012 (001) | Richard Bresden | Tues
3:30 PM - 4:45 PM In Person |
Description
This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (002) | Richard Bresden | Tues
5:00 PM - 6:15 PM In Person |
Description
This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (003) | Kristin J Maksymiw | Thurs
5:00 PM - 6:15 PM In Person |
Description
This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (004) | Kristin J Maksymiw | Thurs
3:30 PM - 4:45 PM In Person |
Description
This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beyond the Utilitarian Vessel | 2013 (001) | Liz McCarthy | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
An exploration of 20th and 21st century conceptual ceramic vessels focusing on the ways in which artists harness the rich history of ceramic production for contemporary purposes. The course will cover ideas of utility, domesticity, decorativeness, and ritual; it will explore relationships between industrial and digital mass production and handcraft; it will examine vessels as metaphors for the body, as carriers of culturally specific meaning, and as expressions of personal and political identity. We will begin our examination of the conceptual vessel with an overview of ceramic history from the Arts and Crafts Movement through to the advent of what Anne Wilson dubbed ?Sloppy Craft.? We will consider famous 20th century works such as Duchamp?s Fountain, Meret Oppenheim's Object, and Judy Chicago?s Dinner Party, as well as canonical ceramics figures such as George Ohr, Peter Voulkos, Robert Arneson, Kathy Butterly, Betty Woodman, Viola Frey, and Beatrice Wood. Other artists will include: Ai Weiwei, Roberto Lugo, Grayson Perry, Diego Romero, Arlene Shechet, Francesca Dimattio, Jessica Jackson Hutchins, Kukuli Velarde, Ann Agee, Liu Jianhua, Milena Muzquiz, Laurent Craste, Ehren Tool, Julie Green, and many others. Readings will include excerpts from Glenn Adamson?s Thinking Through Craft and The Craft Reader, Elaine Cheasley Paterson and Susan Surette?s Sloppy Craft: Postdisciplinarity and the Crafts, and Moira Vincentelli?s Women and Ceramics: Gendered Vessels. With a research intensive focus on the development of concepts, students will produce two vessel-based projects by any combination of hand building, wheel throwing, slip casting, 3d printing, and/or found object manipulation. In addition, students will prepare one 10-15 minute presentation on either a specific culture?s ceramic production or on a contemporary artist producing conceptual ceramic vessels.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Relief: Multi-Level | 2014 (001) | Oli Watt | Fri
9:00 AM - 3:00 PM In Person |
Description
In this studio course, students will explore relief printmaking techniques using woodblocks, linoleum, found-objects, foam, monoprints and digital processes. Students will learn how to properly carve, ink, and print blocks in order to create editions as well as experiment with non-traditional formats. Students will be exposed to the rich history of relief printmaking through traditional and contemporary examples, specifically works from AIC and SAIC collections. Returning students will expand upon previous projects and develop new approaches to exploring content and understanding relief techniques. Students will be exposed to a wide variety of artists from the long and rich history of relief printmaking. We will examine artists who work traditionally within the medium, as well as artists who depend upon contemporary technology to create prints. Some of the artists we will explore in this course include Durer, Hokusai, Masereel, Mendez, Zarina and Baumgartner. Over the course of the semester, students will create 10-20 prints that show an understanding of the various relief techniques demonstrated by the instructor. Students will also participate in a print exchange folio at the end of the course. Projects will be critiqued throughout the semester.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Experimental 3D | 2015 (001) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 3D Embellishment | 2015 (001) | Eia Radosavljevic | Thurs
9:00 AM - 3:00 PM In Person |
Description
Designed to encourage 3-dimensional surface experimentation, this course begins with traditional embellishment methodologies primarily originating in couture millinery, as a means of altering or breaking away surfaces and dimensions. Students then explore alternative materials and methods to transform, mutate or redefine garments, accessories, etc., or to create textured objects in their entirety. To provide related information of interest, selected texts concerning the sociological theories of craftsmanship may be included as well as works by authors like Thor Hanson, Laura Jacobs, Candace Kling, Howard Risatti and Erica Wilson. Field trips to local venues, videos such as the Craft in America series, plus the investigation of works by artists like Nick Cave, Tara Donovan, the Haas Brothers, and Kate MccGwire optionally augment the course content. Projects may be based on up-cycled objects and materials, and will entail various techniques including ribbon manipulation, feather work, flower tooling, and embroidery. Fur/faux sewing and leather tooling are introduced, and other `thread arts? (macrame, tatting, etc.) may be individually investigated in support of conceptual and formal design.
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Credits |
DepartmentArea of StudyLocation |
| Lighting Fundamentals | 2015 (001) | Sonja Ruth Thomsen | Wed
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to using light as a means for creative control. By studying the light around us, we are able to better serve our work through specific choices with regard to existing or ambient light and light augmented by other sources of illumination. Students learn the rudiments of metering, mixing light sources, including the use of on-camera or hand-held electronic flash within existing lighting conditions. This is a practical course that enables students to better control and use light and lighting in their work.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Lighting Fundamentals | 2015 (002) | Sara Condo | Fri
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to using light as a means for creative control. By studying the light around us, we are able to better serve our work through specific choices with regard to existing or ambient light and light augmented by other sources of illumination. Students learn the rudiments of metering, mixing light sources, including the use of on-camera or hand-held electronic flash within existing lighting conditions. This is a practical course that enables students to better control and use light and lighting in their work.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Experimental 3D | 2015 (002) | Marlena Novak | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Drawn to Print | 2016 (001) | Nia Easley | Tues
9:00 AM - 3:00 PM In Person |
Description
A drawing is made whenever an object in motion touches the surface of another and evidence of their meeting is left behind. Images will be generated by examining a range of traditional and contemporary drawing techniques with an emphasis on analog processes and material exploration. Whether one?s style is gestural and improvisational or systemic and detail-oriented, drawing will be used as a device to access ideas and expand conceptual vocabulary. Printmaking then becomes an extension of the drawing process, infusing a richness of surface, color, texture, and layering. Examining the physical relationship between drawing and printing is a priority, with a focus on direct printing techniques such as monoprinting and heat transfers alongside hand-painting and collage. A strong emphasis will be placed on developing a personal and innovative visual language, as well as challenging notions of scale, site and material. Readings, slide presentations and field trips will focus on course related topics. Students present finished and in-process works at three critiques throughout the semester.
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Class Number |
Credits |
DepartmentLocation |
| Footwear Design | 2016 (001) | James Robert Sommerfeldt | Tues
9:00 AM - 3:00 PM In Person |
Description
Various investigations are conducted regarding traditional and alternative shoe design and assembly. Assigned readings and discussions focus on history, materials, the designers, lifestyle, terminology and processes, and the involvement of feet and shoes in art. Emphasis is placed on interpreting the foot and shoe for visual presentations and experimenting with components for artistic and practical expression. Final critiques include presentations of one of half pairs of shoes and sandals, illustrations, weekly clipping files and a thematic selection of thematic original ideas. Group critiques are scheduled several times during the semester. Weekly slide lectures, field trips, guest lectures or demonstration enable students to develop their ideas in the studio with a focus on fit and originality.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Footwear Design | 2016 (002) | James Robert Sommerfeldt | Sat
10:00 AM - 4:00 PM In Person |
Description
Various investigations are conducted regarding traditional and alternative shoe design and assembly. Assigned readings and discussions focus on history, materials, the designers, lifestyle, terminology and processes, and the involvement of feet and shoes in art. Emphasis is placed on interpreting the foot and shoe for visual presentations and experimenting with components for artistic and practical expression. Final critiques include presentations of one of half pairs of shoes and sandals, illustrations, weekly clipping files and a thematic selection of thematic original ideas. Group critiques are scheduled several times during the semester. Weekly slide lectures, field trips, guest lectures or demonstration enable students to develop their ideas in the studio with a focus on fit and originality.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Soft Logic | 2018 (001) | Nelly Agassi | Thurs
9:00 AM - 3:00 PM In Person |
Description
Throughout the course students will focus on the idea of softness and develop projects framed with readings on affect, intimacy, ?radical softness?, touch, and ?soft? identities so as to tease out ideas on what it means to be soft. Students will be introduced and encouraged to experiment from texture to form with hand manipulated and machine techniques like reverse needle felting, latch hooking, tucking, stabilizing, boning, armature building, fabric heat manipulating, natural dyeing, flocking, and fringe crocheting. Readings will include Sara Ahmed?s ?Happy Objects?, Alexander Thereoux?s ?Soft Balm, Soft Menace?, and Sianne Ngai?s ?The Cuteness of the Avant-Garde?. Two experimentation samples will be required in order to manifest these conceptual underpinnings through a variety of techniques. These samples act as playful guides that leads to two major projects with written statements. This course also require artist and reading presentations.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Artists' Books | 2018 (001) | Frances Lightbound | Mon
9:00 AM - 3:00 PM In Person |
Description
Artists’ Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists’ books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists’ books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists’ books.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Hand Knitwear Design | 2018 (001) | Sharon Shoji | Mon
9:00 AM - 3:00 PM In Person |
Description
This course offers a straight forward instruction to the hand knit process. As an ancient process the techniques of hand knitting are explored through various methods concentrating on surface, pattern, construction, color and texture. Emphasis is placed on garment or a wearable knit object. Cultural and historical references are studied along with contemporary application to design. Demonstrations and discussions provide challenges to explore modern interpretation in traditional and non-traditional ways. Offered in the spring semester only.
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Class Number |
Credits |
DepartmentLocation |
| Artists' Books | 2018 (002) | Myungah Hyon 현명아 | Tues
9:00 AM - 3:00 PM In Person |
Description
Artists’ Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists’ books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists’ books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists’ books.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Designed Objects Studio One | 2020 (001) | Erik Newman | Tues
9:00 AM - 3:00 PM In Person |
Description
As the beginning course in the Designed Objects department, students will have an opportunity to explore different methods of working in order to begin establishing a practice that works best for them. Students will be building a strong foundation of skills and techniques needed to navigate an informed design process and successfully complete a design brief. In this hands-on class, students will learn how to find inspiration for an idea, develop that idea into a concept, and use that concept to design and fabricate a high-level, final prototype. Basic research theories and methods are introduced which are then applied towards studio projects. Fabrication and prototyping techniques are also incorporated in order to test out ideas and discover new ones. Students advance through definition, research, ideation, sketching, and modeling phases toward two? and three?dimensional representations (digital and physical) of their work that are orally defended during group critique. Readings and lecture content will vary and will focus on examples of historically relevant and contemporary designers, artists, studios, and design movements; as well as design practices that highlight different motivations of the designer. In addition to the two main projects that focus on different methods of approaching design? where students will be producing high-level prototypes, this workshop-style class consists of one-day projects and exercises designed to introduce techniques and skills such as technical drawing and sketching, form-finding, prototyping, and inspiration research, among others. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
PrerequisitesPrerequisite: Sophomore-level or above. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Redefining Edges: Zero Waste in Fashion | 2020 (001) | Tues
3:30 PM - 9:15 PM In Person |
|
Description
This course explores an unconventional view of garment construction and design by framing the process through the parameter of zero waste. Patterns are created using techniques designed to mitigate or eliminate waste. Both traditional and nontraditional materials are used, as well as digital printing technology. All final projects are fitted on a model in both muslin and fabric.
PrerequisitesFASH 1010 Pre-req |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Designed Objects Studio Two | 2030 (001) | Annalee Koehn | Thurs
9:00 AM - 3:00 PM In Person |
Description
We will work with the processes by which product designers develop compelling objects that communicate ideas, values, functions and purpose. Projects are designed to study the language of form through an analysis of user interaction, the implications of material choice, finishes, and craftsmanship on the success of a product concept, and how these choices support and promote function, desirability and perceived value. There is also an emphasis on expanding student material exploration and making techniques for optimal results, and the value of iterative prototyping in a successful design process. The course will address universal product design issues and methods, starting with defining and understanding the project, considering form and function, appropriate material selection, construction techniques, finishes, iteration, and well-crafted final products. We will cover concepts such as semiotics, ergonomics, families of objects, multi-functional products, and emphasize clear communication of finished design ideas through schematics, and graphic representation using descriptive photography. Relevant contemporary design examples are provided as reference for each project, and students will spend additional time researching contemporary designers such as Front Design, Raw Edges, Nendo and Ron Arad. Students will be introduced to high-end professional design sources in a business setting through a field trip to the Merchandise Mart. The course is built around 3 main projects, each with instructional presentations, Design research assignments, ideation and sketching, group discussions, and iterative prototyping, resulting in the creation of a final product and printed graphic document, all presented and discussed in a group critique. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
PrerequisitesPre Req: DES OB 2020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (001) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (002) | Don Southard | Tues
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (003) | Sheridan Gustin | Tues
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (004) | Lindsey Kircher | Tues
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (005) | Larissa Setareh Borteh | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (006) | George Liebert | Thurs
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (007) | Dylan Rabe | Thurs
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (008) | Amanda Joy Calobrisi | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (009) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (010) | MJ Lounsberry | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Large Format | 2030 (011) | MaryLou Zelazny | Mon
9:00 AM - 3:00 PM In Person |
Description
Are you curious about creating figure drawings life size or larger? This multi-level studio will introduce you to the exciting challenge of drawing the human form from observation on large supports while learning about drawing techniques spanning the pre-modern era into the present day. Students working with figurative subjects will be able to experiment with scale changes on 3? x 6? paper. Students who want to work even larger are encouraged. Formal points of departure are presented clearly through daily morning lectures and demonstrations, using a full array of examples from art history, contemporary art as well as frequent museum visits. The class exercises begin with quick monochromatic sketches and progress to full color extended studies. There is one final project assignment. The majority of the required work is completed during class time. The large format allows students of all abilities to make significant improvements quickly.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fig Draw:Anatomy | 2030 (012) | Melinda Whitmore | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is designed to enlighten and empower the student?s knowledge of basic anatomy in skeletal and superficial musculature forms and to apply it in a drawing context with confidence and fidelity. Not only will the student become better familiarized with anatomical structures through class lectures and life drawing sessions, but a greater understanding of the dynamics of form and movement in space will be achieved through practice and repetition of procedures learned throughout the course.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fig Draw:Adv:Anatomical Ecorche | 2031 (001) | Melinda Whitmore | Tues
9:00 AM - 3:00 PM In Person |
Description
Ecorche (ay-kor-shay) is a French word meanining 'flayed' or 'skinned', but to figurative artists it also refers to any representation of the figure that describes what lies under the skin. In this course, we will be exploring anatomy through the production of a three-dimensional ecorche - where students will use additive and subtractive sculptural practices to create a 1/3 life-sized sculpture representing half skeletal structure and half musculature form. Lectures and materials will focus on specific areas of the body.
PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| Fig Draw:Adv:Body & Language | 2031 (002) | Karen Azarnia | Fri
9:00 AM - 3:00 PM In Person |
Description
We speak through our bodies, and learn to read other's even before we use words. The figure runs through every culture's art. Even when we work purely abstractly, the figure lurks at the edges and dictates nearly every reference point. This studio aims to teach students how the body communicates, and facilitate its effective use in their work. Primarily a studio course, we will use images from art history, contemporary art, graphic novels, films and photography, as well as written material, as jumping-off points for long drawings in a variety of media. We will also go on a series of field trips to discuss how to read body language, and discuss its evolution through animal communication to the nuances of human interchange. This is an advanced studio.
PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| Natural Dye | 2032 (001) | Christian Ortiz | Sat
10:00 AM - 4:00 PM In Person |
Description
Students learn how to translate colors from the natural world into textiles, by using natural dyes foraged from plants, as well as dye concentrates and indigo, for immersion and direct dye applications. Complex surface design patterns are created through the Japanese resist process of shibori. Chemistry, color theory, material manipulations, and research provide a technical foundation for the creation of projects within the expanded field of textiles.
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Credits |
DepartmentLocation |
| Sustainability Studio | 2035 (001) | Peter J Zerillo | Tues
3:30 PM - 6:15 PM In Person |
Description
This course provides an introduction to sustainable design, covering topics such as raw materials, energy, food, water, global and local production, global supply chain, green chemistry, and circular economies. Students will learn about the three pillars of sustainability and the fundamental concepts and principles of sustainability. The course will cover the importance of renewable resources and closed-loop systems to reduce waste in sustainable design. Students will explore renewable energy sources and energy-efficient technologies. The importance of food and water in sustainable design, global and local production systems, the precautionary principle, and the ethical sourcing of materials will also be covered. The course will examine green chemistry as a means of reducing the environmental impact of chemical processes. Finally, students will learn about circular economies and the importance of designing products and processes that promote the reuse and recycling of materials. By the end of the course, students will be able to apply their knowledge of sustainable design principles and practices to their projects in and out of school.
PrerequisitesPrerequisite: Sophomore-level or above. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: Feminist and Queer Clay Strategies | 2035 (001) | Stevie Thomas Hanley | Thurs
3:30 PM - 9:15 PM In Person |
Description
This class engages with feminist and queer theory to explore non-traditional methods of engaging with clay. Students will cultivate strategies for producing artwork in dialogue with conversations on the body as a medium, gender, and sexuality. Throughout the course, students will draw from assigned text, research, and art historical references as a source for contextualizing their own practice. Projects will explore the use of form, formlessness, and performance as processes for manipulating ceramic material.
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Credits |
DepartmentLocation |
| Tapestry | 2037 (002) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
The class will examine the many possibilities of creating woven forms using a tapestry loom (also called a frame loom). Students will begin by experimenting with the basic techniques of tapestry and plain weave as they explore ways of creating surface, image, texture and various color effects within a woven form. Students will then learn more complex tapestry weaving techniques. A variety of tapestry looms will be considered, including possibilities for constructing looms of varying dimensions and sizes. Contemporary weaving projects, along with historical references, will be presented through discussions, visual presentations, demonstrations, readings, and close-up examinations of woven textiles. This course is open to all levels. Tapestry works by contemporary artists such as Diedrick Brackens, kg, Erin M. Riley, Terri Friedman, Aiko Tezuka, Josh Faught, Julia Bland, Sarah Zapata, and Erasto ?Tito? Mendoza will be shown, together with seminal works by artists whose tapestry works spurred the emergence of the field of fiber in the 1950s through early 1970s: Trude Guermonprez, Anni Albers, Lenore Tawney, Olgs de Amaral, Tadeusz Beutlich, and Magdalena Abakanowicz. Contemporary frame loom weaving will be contextualized through visual presentations and readings exploring relevant histories of weaving across the Americas, Asia, Africa, Europe, and the Middle East, together with examples of present day weaving workshops and institutions like the Museo Textil de Oaxaca (Mexico), the Centro de Textiles Tradicionales del Cusco (Peru),the Manufacture Nationale des Tapisseries Senegal (Senegal), and Sadu House (Kuwait). Course work will vary but typically includes the creation of woven samples, 3 or 4 finished works, reading responses, and short research assignments and/or presentations.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Theory Seminar | 2040 (001) | Claire Pentecost | Tues
8:30 AM - 11:15 AM In Person |
Description
This 3 hour reading and discussion class is designed to familiarize students with historical and contemporary philosophy, critical analysis, and contemporary thought relevant to photography and the visual culture. The course's aim is to prepare students for a higher level of discourse in anticipation of either graduate school or life as an artist in the greater realm of the ?art world.? Discussions of contemporary work in this atmosphere are aimed at making clear the connection between theory, research and an artist's practice. Students are expected to do critical readings (generally one essay per week), complete short, informal writing assignments, participate in class discussion, and to engage in theoretical research as part of their own practice.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Expanded Line | 2040 (001) | Sat
10:00 AM - 4:00 PM In Person |
|
Description
The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler; Devin T. Mays and David Schutter; John Baldessari and Paul Thek; Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber.
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Credits |
DepartmentLocation |
| Wksp:Poetics of the Ordinary | 2040 (001) | Matthew Goulish | Wed
8:30 AM - 11:15 AM In Person |
Description
If we define the ordinary as that which can be overlooked, or that which we value most when it is absent -- how can we consider such ordinariness in language or image a generative, creative foundation? This course examines selected examples of writing and art formulated and structured according to principles of the ordinary. Case studies of writing from and through the ordinary include works by Charles Olson, Amina Cain, Remedios Varo (tr. by Margaret Carson), Jay Wright, Robert Creeley, and George Perec (tr. by Marc Lowenthal). Each student will present their own work twice through the semester, for respectful response from the classroom community. Students will participate in several in-class writing activities through the semester. Students will take a mid-term vocabulary test of key words that present themselves in lectures and conversations in the first half of the semester.
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Class Number |
Credits |
DepartmentLocation |
| Studio Drawing:Fail Better | 2040 (001) | Erin Washington | Mon
9:00 AM - 3:00 PM In Person |
Description
Studio Drawing: Fail Better is an exploration of time-based and ephemeral strategies as they relate to elements of drawing. Much like Baldessari's disowning of his early work, students will be encouraged to let go of practiced methods, using destruction as a form of creation. Doubt will be embraced, experimentation encouraged, and risk considered a viable game-plan. Employing strategies such as collage, archives, and documentation, we will explore how to rebuild your portfolio after you?ve let it go. Rebuilding strategies will range from accumulative, time-based methods such as the work of William Kentridge to the chaotic secretions of Dieter Roth. There will be studio problems and exercises, sketchbook assignments, and slide presentations with a focus on individual projects.
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| Wskp: Re:vision | 2040 (002) | Sherry Antonini | Tues
8:30 AM - 11:15 AM In Person |
Description
In this beginning workshop, we will engage in generative sessions that facilitate writerly observation and curiosity to spark new writing. Ongoing journaling exercises, observational walks, deep listening activities, and ekphrastic writing at museum and campus galleries will prompt writing ideas that spring from paying attention and seeing the familiar as refreshed and redefined. In tandem with these sessions, we’ll read and discuss excerpts from Alexandra Horowitz’s book, On Looking: A Walker’s Guide to the Art of Observation. We’ll also investigate and analyze examples of poetry and prose rooted in similar aspects of noticing by a wide range of writers such as Sei Shonagon, David Sedaris, Mary Oliver, Stuart Dybek, Julia Alvarez, and Aminatta Forna. Students will create early drafts based on their individual experiences and free writing responses to our generative sessions and discussions. Then, with a focus on both building strong drafts through revision and cultivating a keener sense of individual voice as it surfaces and continues to develop, we’ll workshop student writing across the semester. Students should expect to write daily in a journal, participate in frequent class walks outside, and create several drafts of fresh writing toward finished pieces as a final project portfolio.
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| Studio Drawing: Multi-Level | 2040 (002) | Jeffrey Yard, Lara Williams | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (002) | Jeffrey Yard, Lara Williams | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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DepartmentArea of StudyLocation |
| Stu Dwg: Collage | 2040 (004) | MaryLou Zelazny | Tues
9:00 AM - 3:00 PM In Person |
Description
This multi-level studio will cover all of the various traditional methods of assembling cut paper into a complete work of art. Additionally, we will touch upon the use of unorthodox materials for 2D assemblage and bas-relief. The class will review historic and contemporary approaches, using them as an inspiration for projects. Individual as well as group instruction will provide a flexible educational environment, accommodating both the novice and accomplished collagist. Examples from the rich history of collage will be shown, as well as field trips to related exhibitions.
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| Std Draw:Representn/Abstractn | 2040 (005) | Judith Geichman | Tues
9:00 AM - 3:00 PM In Person |
Description
Manipulate Space, Deconstruct Form, Re-Invent Your Visual World. This course will explore different form and space making systems as they relate to abstraction. Slide presentations throughout the semester will focus on abstraction and different artist, art movements, elements of visual language, and concepts past and present, all to engage and open students visual ideas and art making practice. Students will be encouraged to pursue their own ideas and imagery as they work with the course material. Painterly drawing will be explored, as well as drawing from a live model. Field trips are scheduled in the curriculum.
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DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (007) | Julian Tyus | Tues
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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Credits |
DepartmentArea of StudyLocation |
| Studio Dwg:Mixed Media Paper | 2040 (008) | Karen Azarnia | Wed
9:00 AM - 3:00 PM In Person |
Description
Simply put, this class is about exploring possibilities-- the use of various combinations of materials used, wet and/or dry, on any paper related products, from fine drawing sheets to left over cardboard, as long as the what and how of it is on/with a paper support...the individual pursuit for a personal visual voice is encouraged...during the first several weeks, various 'problems' will be given to start things moving?
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Credits |
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| Studio Drawing: Multi-Level | 2040 (009) | Richard Hull | Wed
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (011) | Andrew Falkowski | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (013) | Paul Heyer | Thurs
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (014) | Noah B Rorem | Fri
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Large Format | 2040 (015) | Fri
9:00 AM - 3:00 PM In Person |
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Description
How big is big? Does the size of a drawing alter our ideas of what we?re about while we?re producing it? How do relationships of internal scale alter our sense of the surrounding space, and how do the sizes of the materials and the support alter our own awareness of scale? In this course we will explore the potential for large format drawing in the perceptual, material, narrative and conceptual senses. We will work towards expanding notions of Large, Format, Studio and Drawing. We will work towards specificity and developing each student's individual concerns. Bring your ambition, you'll need it. Most time in class will be spent working on studio projects, which will be supplemented by museum visits, slide lectures, student led reading discussions and presentations, and in depth critique. Readings and artists looked at will vary, but will typically include texts which attempt a broad overview of the state of drawing within the field of contemporary art like Vitamin D2 and Drawing Now: Eight Propositions, and include contemporary artists working with drawing at ambitious scale such as Toba Khedoori, Amy Sillman, and William Kentridge, and more historical examples like Willem de Kooning, Cy Twombly, Lee Krasner, and Jasper Johns. There will be a long form mid-term critique and a shorter final critique. Students will be expected to complete multiple large scale works for each.
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| Studio Draw: Expanded Line | 2040 (017) | Sat
10:00 AM - 4:00 PM In Person |
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Description
The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler; Devin T. Mays and David Schutter; John Baldessari and Paul Thek; Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber.
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| Type and Image in Motion | 2041 (001) | John Bowers | Fri
9:00 AM - 3:00 PM In Person |
Description
2041 - Type + Image in Motion is a studio based introduction to the design of motion graphics. We will examine the methodologies, theories, visual and auditory principles, technical issues of motion design with an emphasis on the interplay of movement, time, imagery, typography and sound within the digital environment. The course focuses on the role motion plays in creating expressive and communicative experiences. Students will critically analyze and create a range of motion studies, and investigate the visual grammar and creative strategies of the time-based communication and motion graphics utilizing storyboarding and two-dimensional animation, Readings, screenings and discussions will provide students with a historical overview of motion design and time-based media. We will examine the work of various influential motion designers both past and present. Readings and lectures cover the theoretical foundations of the field, and assignments provide hands-on, project-based experience with production. Weekly in-class tutorials will be provided by the instructor and the student will be required to develop a working knowledge of software appropriate to concepts of time-based media. Students should expect to develop comprehensive storyboards and produce three short digital videos. The completed motion design studies and visual investigations will be presented in group and individual critiques during the course of the semester.
PrerequisitesPrerequisite: VISCOM 1002 or VISCOM 2941. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Adv Form Invention | 2041 (001) | Richard Hull | Thurs
9:00 AM - 3:00 PM In Person |
Description
An advanced investigation of drawing as an organizing tool for thought and personal image exploration. Students work with both assigned and independently conceived problems. Topic: Form Invention - The exploration of representation strategies beyond direct perception and conventional visual modes. Procedures will include exaggeration and omission, stylization and abstraction, composite and hybrid forms, secondary and double images, visual puns and rhymes, and multi-perspectival representation. Examples will be drawn from the span of art history, East and West and from contemporary practice and visual culture. There will be studio problems and exercises, sketchbook assignments, individual projects, slide presentations, and museum visits.
PrerequisitesPrerequisite: PTDW 2040. |
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Credits |
DepartmentLocation |
| French II | 2050 (001) | Elizabeth Chalier-Visuvalingam | Mon
12:15 PM - 3:00 PM In Person |
Description
This course is part two of a two-semester sequence. Its goal is to provide students without any knowledge of the French language a solid foundation in the basic patterns of written and spoken French and an understanding of the particular sociocultural norms necessary for everyday communication in France. These are achieved in several ways: (1) a careful study of French grammar, with a communicative approach, (2) a study of the basics of French phonetics, and (3) a variety of materials such as readings, movies, commercials, etc. French II is the sequel of French I. Prerequisite: French I or agreement of instructor.
PrerequisitesPrerequisite: LANGUAGE 2005. |
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Credits |
DepartmentLocation |
| Ceramic Sculpture | 2051 (001) | William John O'Brien | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to sculptural ideas executed in various ceramic hand construction techniques including slab, coil, press mold, etc. Students will explore how the unique physical characteristics of clay can contribute to the content of the work. Construction strategies will be examined in a conceptual context, investigating issues of space, technology, and architectural implication to build a dimensional perspective of personal and societal relevance. Emphasis will be on process, exploration, and discussion. We will examine artists who've instrumentalized clay in inventive and boundary-pushing ways. Some of the artists we'll look at are Arlene Schechet, Annabeth Rosen, Ron Nagel, Huma Bhabha, Genesis Belanger and more. Readings and screenings will vary but typically include interviews with contemporary artists and critical essays by Eva Respini, Clare Lilley, Rosalind Krauss and more. Students should expect to produce a body of work consisting of assigned and self directed projects to be presented in a culminating midterm and final critique.
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| Pattern Making for Sculpture | 2074 (001) | David Sprecher | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
Patternmaking is at the heart of metalworking, woodworking, fashion, architecture and many other disciplines. Why? Because so many materials are available in sheet form. Students in this course will investigate a range of processes by which flat sheet materials like paper, wood, metal, fabric, vinyl, and plastic can be used to make volumetric, three-dimensional forms. Patternmaking for Sculpture will teach the student digital and analogue methods of designing, cutting, and assembling 3D work. Practical strategies as well as contemporary industrial use and the history of patternmaking will be explored to give each student a range of options for making their own work, whether it be art or design.
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| Chinese II | 2080 (001) | Junming Han | Thurs
6:45 PM - 9:30 PM In Person |
Description
Chinese II is designed for students who take Chinese as a foreign language and have passed the Chinese I course. For the students who have not taken the Chinese I course at SAIC, an evaluation test is required and students must gain the instructor's approval in writing to enroll in this course. Students who speak Chinese as their native language are not allowed to attend this course. Students will continue to learn the Lessons 6-10 of <<Integrated Chinese>> (Level 1 Part 1) to expand vocabulary words and key grammatical structures. The course will aim to expose students to more Chinese culture, help them with Chinese oral presentations and writing about school life, study, shopping, and transportation.
PrerequisitesPrerequisite: LANGUAGE 2008. |
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Credits |
DepartmentLocation |
| New Media: Crash Course | 2100 (001) | Christopher Lee Collins | Mon
9:00 AM - 3:00 PM In Person |
Description
This introductory studio course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web based technologies are introduced from the perspective of media art making. Students will be exposed to relevant theoretical texts. Historical and contemporary new media works are screened, demonstrated and discussed. Through a series of workshops, assignments and a final project, students will gain a general understanding of how to read and write new media using various techniques such as HTML ++ CSS, JavaScript, Realtime systems, Generative systems, and Art Games.
PrerequisitesPrerequisite: FVNM 2000 |
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Credits |
DepartmentArea of StudyLocation |
| Art and Technology Practices | 2101 (001) | Christine Anne Shallenberg, Douglas Rosman | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art and Technology Practices | 2101 (001) | Christine Anne Shallenberg, Douglas Rosman | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.
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Credits |
DepartmentArea of StudyLocation |
| Why Ancient Art and Architecture Matter | 2113 (001) | Joana Konova | Thurs
3:30 PM - 6:15 PM In Person |
Description
Ancient art and architecture often provides the backdrop for National politics and in many countries is the art which one first encounters outside of a museum. This course will introduce students to ancient art and architecture in a way that highlights its modern importance in terms of cultural heritage and the art making practices of modern artists. Readings will address the contemporary relevance of ancient art, the particularities of that artwork, and the way that ancient artwork and the modern art it inspires are a manifestation of cultural values both past and present. Students will be required to present readings to other students on a biweekly basis, take exams based on the artwork presented in lectures, and complete a research project. The research project involves the study of one repatriated artwork's provenience and provenance and the presentation of that research to the class
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Foundry Basics | 2113 (001) | Elizabeth Cote | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.
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| Digital Modeling: Rhino | 2124 (001) | Peter J Zerillo | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course is designed to be a fast-paced first step into the field of 3D CAD modeling, an arena where designers give shape to our daily experience of the world. If this is your first exposure to virtual 3D form development, you will find a flexible interface that facilitates a rapid learning curve from simple to complex. For those with prior CAD experience desiring a more intuitive, less restrictive creative experience, this course will provide the means to turn what you see in your mind and your sketches into exciting visual and precise physically accurate representations of your vision. Throughout the semester we will discuss historical and current events in product, fashion and architectural design. Typically, these shared conversations lead to discoveries that participants dig into and apply to assignments. A list of influential artists, designers and architects is provided along with suggested books and online references that enrich and add diversity and range to our discourse. Initially, the class works through a series of exercises and tutorials designed to bring familiarity and confidence to their experience with Rhino. Students will investigate methods for surfacing, modifying, rendering, and presenting ideas and concepts they create. As each tool and process becomes more familiar, new methods and strategies are introduced, and students are taught how to apply them to create accurate representative models of objects they design. In addition to gaining hands-on skills, we will explore form creation and the physical, cognitive, emotional, social, and cultural factors that play into the development of a successful new product.
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| Digital Modeling: Solidworks | 2126 (001) | Angie Lullie | Tues
3:30 PM - 9:15 PM In Person |
Description
This course introduces students to SolidWorks, a powerful parametric software package used by product designers to model, indicate specifications, and visualize their design intent. Students will learn the software in the context of design by using it as a tool to develop form and scale, convey design intent with 3D renders, create specification drawings for manufacturing, and interface with 3d printers, CNC machines, and laser cutters for quick iterative prototyping. This course will focus on a series of tutorials followed by hands-on design projects that will provide intensive training in 3D modeling, 3D printing, and photo-realistic 3D rendering.This will allow the students to make judgements on which 3D tools to use at what stage to develop the most efficient models. The tools will be explained through examples and demonstrations, which will allow the students to practice the tools during class. Students are expected to complete 4 projects. The projects will include learning 2D sketch tools and creating relations through existing logos, modeling existing products with multiple components, developing an original design based on an existing brand or artist, and collaborating within a group on a system of objects.
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DepartmentArea of StudyLocation |
| History of Designed Objects | 2128 (001) | Lara Allison | Wed
8:30 AM - 11:15 AM In Person |
Description
The course examines the history of designed objects and their place in a variety of material contexts. Even within our increasingly digitalized existences today, physical objects continue to play a key role in determining our experiences as humans. Our objects are designed by us and at the same time design us by extending the possibilities of what it means to be human and exist in a world. The designed object will be considered under the conditions of global exchange, in relation to questions of health, disease, and the body, as well as urbanism. We will also reflect on the designed object through the lenses of craftsmanship, technology, materials, activism, identity, and cultural heritage. Course participants will read texts relevant to the theoretical and historical aspects of the designed object and its representations, contribute to weekly discussions, conduct object-based analyses, and engage in a series of team and individually written critical writing assignments.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| The Artist as Stylist?: Fashion Signifiers in Art | 2143 (001) | Caroline Marie Bellios | Wed
8:30 AM - 11:15 AM In Person |
Description
If you could only be seen in one outfit for the rest of your life ? what would it be? How would you represent who you are through your choice of silhouette, color, pattern, and texture? In this course we will take a look at art?s ability to freeze moments, and garments, in time. What did the sitter (or the artist) chose to clothe the body? How did fashion and its power of communication function within the time the art work was made? What choices did the artist make to idealize or change their representation of the garments? In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a warrior or a captive in work of the Nazca from ancient Peru? How can we read hairstyles in Ukiyo-e paintings from 17th century Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will utilize the collections of the Art Institute, The Field Museum, and others around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, explore through making, and develop skills in critical looking leading to two short research papers examining works of their choice. In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a king in Incan pottery? How can we read hairstyles in Ukiyo-e paintings from Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will visit the collections of the Art Institute, The Field Museum, and other collections around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, and develop skills in critical looking leading to two short research papers examining works of their choice.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey Architectural History II: 1800-now | 2192 (001) | Joseph Socki | Tues
3:30 PM - 6:15 PM In Person |
Description
This course surveys the history of architecture and design, including furnishings, decorative arts and interiors, from Napoleonic Europe until the onset of Globalism in the early Twenty-First Century. Special attention is given to the developments that have remained most influential within the architecture and design of today, with particular emphasis on: nineteenth-century revivalism and industrial architecture; Chicago School, early skyscrapers and the designs of Frank Lloyd Wright; the Arts & Crafts and Art Nouveau movements; early twentieth-century Modernism in Europe; Art Deco, the Bauhaus and the International Style; Late Modernism and New Brutalism; Postmodernism; and contemporary twenty-first century Global movements. Through extensive lectures and primary source readings, special focus in this class is devoted to the pioneering and influential architects from the nineteenth, twentieth and twenty-first centuries, including Friedrich Schinkel, Joseph Paxton, Louis Sullivan, Frank Lloyd Wright, Greene and Greene, Charles Rennie Mackintosh, Adolph Loos, Walter Gropius, Mies van der Rohe, Le Corbusier, Alvar Aalto, Eero Saarinen, Philip Johnson, Louis Khan, Adrian Smith and S.O.M., Robert Venturi, I.M. Pei, Frank Gehry, Renzo Piano, Norman Foster, Rem Koolhaas and Zaha Hadid. Students will complete a combination of in-class and take-home exams along with a final research paper on a topic chosen in consultation with the instructor.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Survey of African Art | 2400 (001) | Sarah Estrela | Wed
8:30 AM - 11:15 AM In Person |
Description
This introductory course surveys the arts of Africa from prehistoric times to today. Focusing on the region south of the Saharan desert, the course will cover a range of media and practices, including painting, architecture, textile, ceramics, metalwork, and body art from across various cultures on the continent. We will consider major movements in the development of African civilizations, the spread of Islam, colonialism and westernization from the perspective of African artistic initiatives and responses. The course will consider ancient African kingdoms and empires, early contacts with Europeans in the fifteenth century, and problems related to African contemporary art and African artistic identities within a globalized art world.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| Animation I: Drawing for Animation | 2420 (001) | James Trainor | Tues
9:00 AM - 3:00 PM In Person |
Description
This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.
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Credits |
DepartmentArea of StudyLocation |
| Animation I: Drawing for Animation | 2420 (002) | Sara Payne | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.
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Credits |
DepartmentArea of StudyLocation |
| Animation I: Drawing for Animation | 2420 (003) | Matthew Marsden | Fri
9:00 AM - 3:00 PM In Person |
Description
This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.
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Credits |
DepartmentArea of StudyLocation |
| Modern and Contemporary Korean Art | 2468 (001) | Yeonsoo Chee | Tues
8:30 AM - 11:15 AM In Person |
Description
This course introduces 20th and 21st century Korean through major themes, including the introduction of Western art, the unique formation of Korean Modernism, the Avant-garde art movement, people?s art, feminist art, and the globalization of the Korean art scene. We also address Korean artists working internationally and major thematic Korean art exhibitions held in America.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Media Art Histories and Genealogies | 2513 (001) | James Connolly | Thurs
12:15 PM - 3:00 PM In Person |
Description
An introduction presents an overview of the academic field known as Media Art Histories as well as the specific genealogies of relevant academic disciplines (i.e. of Film Art, Video Art, New Media Art & both filmic and digital Experimental Animation) as well as genealogies of specific media technologies (i.e. cameras, computers and software; electric lights, radio and sound; chemical, magnetic, and digital forms of storage and the industrial and capitalized structures that they require). These interwoven histories of shared theory/practices are investigated in relationship to independent/experimental/art media in contemporary cultures by asking: How do artists develop methods to work with, against, and around these techno-social forms? Readings will include Kittler, Zelenski, Grau, Gunning, Gaudreault, Musser, Schivelbusch, Auge, Adorno, Kluge, and Krackauer.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The History Of Furniture | 2542 (001) | Joseph Socki | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course is a comprehensive survey of the history of furniture, including relevant information on residential architecture, the decorative arts and interior design, from the Neolithic Era until the Twenty-First Century. Special attention is given to the developments that have remained most influential within furniture design today, with particular emphasis on the ancient Egyptians, Greeks and Romans, the Middle Ages and the Renaissance, the Baroque, Rococo and Neoclassical eras, revivalism in the Nineteenth Century, early Modernism in the Arts & Crafts and Art Nouveau movements, Art Deco, the Bauhaus and the International Style, Mid-Century Modernism, Late Modernism and Postmodernism. Through extensive lectures and readings, special focus in this class is devoted to the relationships between furniture and societal customs throughout history, the rise of furniture?s status as a fine art during the Baroque, Rococo and Neoclassical periods, the influence of industrialization, mass production and new technologies and materials on furniture manufacturing in the nineteenth and twentieth centuries, furniture?s role in helping to create and define architectural space within interiors of the twentieth and twenty-first centuries, and the role of individual narratives in developing unique identities and meanings for furniture throughout history. Students will complete a series of in-class exams along with a final research assignment analyzing a single object chosen from the Art Institute?s furniture collection.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Climate Fiction | 2588 (001) | Shawn Smith, Oliver Sann | Tues
6:00 PM - 9:00 PM In Person |
Description
Science fiction films imagine futures that often comment on the failures of the present. In recent years, “clif-fi,” or science fiction about climate change, has become an increasingly popular sub-genre, and some historical films have been newly understood within this framework. This class will study a wide range of historical and contemporary cli-fi films, including international films, experimental films, and blockbusters, in order to understand how they encourage us to see the escalating crisis of climate change. Each week a film will be screened at the Gene Siskel Film Center. Mad Max: Fury Road (2015, George Miller, Australia); Snowpiercer (2013, Bong Joon-ho, South Korea); Neptun Frost (2021, Saul Williams, Rwanda); Princess Mononoke (1997, Hayao Miyazaki, Japan) or The Day After Tomorrow (2004, Roland Emmerich, USA), to name a few. Students will be expected to read essays before class, attend film screenings, participate in conversations and other tasks.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Climate Fiction | 2588 (001) | Shawn Smith, Oliver Sann | Tues
6:00 PM - 9:00 PM In Person |
Description
Science fiction films imagine futures that often comment on the failures of the present. In recent years, “clif-fi,” or science fiction about climate change, has become an increasingly popular sub-genre, and some historical films have been newly understood within this framework. This class will study a wide range of historical and contemporary cli-fi films, including international films, experimental films, and blockbusters, in order to understand how they encourage us to see the escalating crisis of climate change. Each week a film will be screened at the Gene Siskel Film Center. Mad Max: Fury Road (2015, George Miller, Australia); Snowpiercer (2013, Bong Joon-ho, South Korea); Neptun Frost (2021, Saul Williams, Rwanda); Princess Mononoke (1997, Hayao Miyazaki, Japan) or The Day After Tomorrow (2004, Roland Emmerich, USA), to name a few. Students will be expected to read essays before class, attend film screenings, participate in conversations and other tasks.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| History of Film Animation | 2598 (001) | James Trainor | Wed
12:15 PM - 3:00 PM In Person |
Description
This course covers the history of animated film, from its pre-cinematic beginnings to the beginning of the television era (ca. 1960). It traces the development of the Hollywood studio cartoon, along with parallel developments in European and Japanese animation and experimental and abstract works. Special emphasis is given to the evolution of formal animation techniques and their role in the shaping of the animation aesthetic. Much attention is given to the groundbreaking work of Disney, the Fleischer studio, and the cartoons of Tex Avery and Chuck Jones. European animators are represented by Lotte Reiniger, Oskar Fischinger, and other experimenters. All films are screened chronologically, with a mix of short works and a handful of features. There are weekly readings on the history of animation; a ten-page paper; and a final multiple-choice exam.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| History Of Performance | 2610 (001) | Daniel Merkle | Mon
6:45 PM - 9:30 PM In Person |
Description
This course surveys performance as art throughout the Modern and Postmodern periods?including contemporary and non-Western incarnations?and covers roughly the last one hundred fifty years. Areas of historical and theoretical focus include the philosophy of performance, ethnography, feminism, and the interface of performance with film, video, dance, sculpture, theater, technology, and popular culture. Movements like Futurism, Dada, and Fluxus are explored alongside themes like endurance, performance in everyday life, the culture wars and censorship, performance and AIDS, and postcolonial uses of performance. Key figures such as Carolee Schneemann and Marina Abramovic are analyzed through comparison of documentaries about their work. Any number of seminal performance pieces are screened, including ones by Yoko Ono, Linda Montano, Diamanda Galas, Guillermo Gomez-Pe?a & Coco Fusco, and Anna Deavere Smith. Further historical context comes from essays and movies about AIDS activism and Punk & New Wave. Readings include primary sources, artist interviews, C. Carr's reviews, and noted works in Performance Studies from Richard Schechner, Peggy Phelan, Amelia Jones, and others. Students will attend two performances and write reviews, an annotated bibliography assignment provides opportunity to explore historical and non-western performance topics, and there will be much discussion.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 20th Century Photography | 2622 (001) | Alice Maggie Hazard | Thurs
8:30 AM - 11:15 AM In Person |
Description
In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers spent decades experimenting with techniques and debating the representational nature of this new invention. This course focuses on the more recent history of this revolutionary medium. From the technological advancements that characterized the rise of photography in the commercial world during the 20th century, and the acknowledgement of photography as an artistic medium in its own right, to the digital revolution and its social media applications, we will consider the technological, economic, political, and artistic histories of photography through selected works of art and seminal critical texts. This course considers photography in a global context. We focus on seminal texts and images in order to explore ethical, commercial, artistic, and political issues that make photography essentially important to our contemporary visual culture. The course explores broad range of photographic practices, techniques, and approaches including the work of Hannah Hoch, Martha Rosler, Hiroshi Sugimoto, Dawoud Bey, Gordon Parks, Nan Goldin, Cindy Sherman, William Eggleston, Shirin Neshat, Wolfgang Tillmans and many more. We regularly visit the collections of AIC and MCoP to enrich our class discussions with private print viewings and exhibition critiques. Students are expected to share an image of their choice in response to the assigned weekly reading. These images are used in class discussion. There also is a final paper, a final presentation, and an in-class test.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Video Art | 2670 (001) | Lisa M Zaher | Wed
8:30 AM - 11:15 AM All Online |
Description
This course is designed to provide a comprehensive introduction to the history of video art from its emergence in the late 1960s through our present moment. Students will examine key works and the major historical, cultural, and aesthetic influences on the form.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| History of Modern Graphic Design | 2730 (001) | Michael Golec | Mon
8:30 AM - 11:15 AM In Person |
Description
This general survey of graphic design between the 19th and 20th centuries maps the relationships between graphic design and various commercial and cultural institutions under the broad category of the modern. Students study the issues and problems that faced designers, their clients, and their audiences, in the negotiation of commercial and social changes. Through lectures, readings, discussions, and museum visits, the course examines the cultural, social, economic, political, industrial, and technological forces that have influenced the history of graphic design. Course work includes object analysis assignments, research paper, and mid-term and final exams.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art Crit:Write for Mag/News | 2751 (001) | Margaret Hawkins | Tues
3:30 PM - 6:15 PM In Person |
Description
Using the works of established critics and writers as models and using the museum and Chicago galleries as subject matter, students learn to write concise reviews and essays. Class time is spent discussing art, assigned readings, and students? writing. Students are required to turn in one short written work at the beginning of each class. The goal of the course is to develop students? powers of observation, clarity of language and ability to form and defend opinions about works of art. Readings include Kimmelman, Berger, Schjeldahl, Hickey, Lippard, Barnet, Fried, Wolfe.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| architectural design as a cultural practice | 2900 (001) | Aaron Neal | Thurs
3:30 PM - 6:15 PM In Person |
Description
What does a designer do? This course understands architectural design as a creative practice, embedded within rich cultures of disciplinary knowledge and professional responsibilities. As a creative practice, design becomes more than problem-solving and client management and embraces complex logics of possibility. The work of contemporary architects and related designers, such as Teddy Cruz+Fonna Forman, Brian C. Lee, Virgil Abloh, AGENdA , Jennifer Bonner, Shohei Shigematsu, and Li Hu and Huang Wenjing (OPEN), among others, will provide a reference point for our work. Students will experiment with practice scenarios, designed from and through their work, and the work of others in the class and in the field. Course projects will include a portfolio and a series of design writing experiments that will result in a critical essay, a designer's statement, and an academic map that will help students align SAIC's BFA programs with their interests and ambitions.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Writing Art History | 2900 (001) | Annie Bourneuf | Mon
12:15 PM - 3:00 PM In Person |
Description
The main aim of this intensive course is to learn how to write art history by doing it. Each student will write an original research paper investigating a single, particularly compelling object of her choosing in scaffolded stages over the course of the entire semester, while drawing on a range of library and museum resources and responding to constructive criticism from the teacher and from peers. The course guides students to pose generative questions of their objects, to find and analyze sources, and to make persuasive arguments. We will also at times study the study of art, examining the history of the museum as a framework for such study, and reflecting on as well as using some key analytical moves often used by art historians. We will not only study statements by scholars reflecting on their own methods, but also exemplars of analysis, which we will in turn take apart to figure out how to do such analysis ourselves. While this course is required for the BA in Art History and BFA with Art History Thesis, any undergraduate who wants to write art history is warmly welcome.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Integral Fashion Studio | 2900 (001) | Kristin Mariani | Mon/Wed, Mon/Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002
PrerequisitesStudent must be a sophomore and have completed FASH 2001 & FASH 2002 |
Class Number |
Credits |
DepartmentLocation |
| Integral Fashion Studio | 2900 (002) | Kylee Marisa Alexander, Jasper Alan Drummond | Mon/Wed, Mon/Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002
PrerequisitesStudent must be a sophomore and have completed FASH 2001 & FASH 2002 |
Class Number |
Credits |
DepartmentLocation |
| Short Form | 2900 (002) | Thurs
6:45 PM - 9:30 PM In Person |
|
Description
How might one see their creative practice from novel or surprising perspectives? What methodologies reliably yield diverse viewpoints on one’s work and process as an artist, designer, or scholar? This sophomore seminar invites students to engage with a versatile toolkit of short-form practices (epigrams, aphorisms, proverbs, taglines, haikus, titles, captions, jokes, epitaphs, diagrams, charts, cartoons, icons, pictograms, caricatures, logos, maps) to develop a kaleidoscopic repertoire of sketchbook-based frames of thought. Through a discipline of playful short-form probings we will foster critical perspectives that inform and support our creative practices, connecting with each other in an open forum and working to align the curriculum and resources of SAIC behind a self-directed course of study.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Integral Fashion Studio | 2900 (002) | Kylee Marisa Alexander, Jasper Alan Drummond | Mon/Wed, Mon/Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002
PrerequisitesStudent must be a sophomore and have completed FASH 2001 & FASH 2002 |
Class Number |
Credits |
DepartmentLocation |
| Designing Your Future | 2900 (003) | Anjulie Rao | Tues
6:45 PM - 9:30 PM In Person |
Description
This seminar introduces students' to design problem definition, design process and the logic behind design problem frameworks. The arguments are grounded through an understanding of design criticism and by looking at foundational historic and contemporary convergences in critical design thinking. The seminar is specifically conceived in conjunction with the second year core design studios and as the first part of a thread of knowledge aimed at substantiating the central role of design thinking in the undergraduate curricula.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (006) | Melita Morales | Tues
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (011) | Thurs
12:15 PM - 3:00 PM In Person |
|
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (012) | kg Gnatowski | Tues
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (016) | Lee Blalock | Wed
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Clay as Chameleon | 2900 (021) | Emily Schroeder Willis | Tues
12:15 PM - 3:00 PM In Person |
Description
Clay is an amazing material for an interdisciplinary artist to have in their repertoire. It can be as hard as stone one moment and you can also watch it disintegrate before your eyes the next. Throughout the centuries artists and craftspeople have capitalized on its transformative nature, sometimes even disguising it in plain sight. In this course we will see how artists from many backgrounds have used transformative materiality within their work. ARTISTS/READINGS Readings will vary but we will look at excerpts from articles like: Jo Dahn “New Directions in Ceramics”, Jenni Sorkin “Pottery in Drag: Beatrice Wood and Camp”, Paul Matheiu “The Radical Autonomy of Ceramics”. A sample of artists whom we will be studying are: Bertozzi & Cassoni, Alexandra Engelfriet, Teri Frame, Shiyuan Xu, Claire Twomey, Marilyn Levine, Renata Cassiano Alvarez, Nina Hole, Jennifer Ling Datchuk, Andy Goldsworthy, Theaster Gates, Edmund de Waal, Magdalene Odundo and Pheobe Cummings ASSIGNMENTS/PROJECTS Course work will vary but typically includes weekly reading responses, biweekly mentoring meetings, engage in critique of both peer artwork as well as self-reflection on student’s own work and a few small individual projects.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Storytelling for Designed Objects | 2900 (026) | Cassandra Scanlon | Thurs
3:30 PM - 6:15 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (031) | Bambi Deidre Breakstone | Thurs
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (032) | Annie Marie Novotny | Tues
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Craft and Object in Contemporary Art | 2900 (036) | Stacia Laura Yeapanis | Wed
12:15 PM - 3:00 PM In Person |
Description
The word 'craft' has been used both as a badge of honor and as a dismissive slur. This seminar will explore the stereotypes, the history and the changing status of craft in relation to contemporary art in America. We will read essays by craft theorists and makers including Marie Lo, M. Anna Fariello, Bruce Metcalf, L.J. Roberts and Namita Gupta Wiggers and watch the PBS Docuseries 'Craft in America' to help us triangulate an ever-shifting definition of craft. Students will bring previously-critiqued, in-process and revised work to 3 critiques, where an emphasis will be placed not just on WHAT objects mean but also HOW they mean. Course work includes weekly free-writing, reading discussions, and several assignments designed to help students articulate their artistic concerns and contextualize their work.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| The Digital Dark Age | 2900 (041) | Eric Fleischauer | Thurs
12:15 PM - 3:00 PM In Person |
Description
as we continue to digitize our world, the chorus of techno-optimists singing technology’s praises is louder than ever. but...are our expansive networks and digital tools truly enlightening us? or are they in fact working to obscure, impede, and deny us the very things they are said to provide? this seminar will confront the dark cloud looming over our digital domains. we will examine how advances in information technology have generated a growing set of unintended consequences that hinder our view of the world, and diminish our agency within it. we will reflect on various topics including technology and power, complex uncertainty, perpetual surveillance, archival viability, and eroding empathy. selected readings, screenings, assignments, and critiques will map out lines of inquiry for students to consider and apply to their research + studio practices. a significant amount of class time will be spent in critique + conversation offering students feedback and mentorship throughout the semester.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Environmental Extractions: Art, Place, and Voice | 2900 (042) | Mikey Peterson | Tues
12:15 PM - 3:00 PM In Person |
Description
How do environments influence art, and how can we extract imagery, sound and ideas from these places to create work and develop our artistic voices? Through location exploration, image/sound/object collection, experimentation, research and writing we can discover connections between ourselves, our environment, and the artmaking that will shape our creative practices. What are the concerns that drive one?s creative practice? How does one set the terms for its future development? Sophomore Seminar offers interdisciplinary strategies for the evaluation and communication of students? individual practice as artists, designers, and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. Works by video artists, visual artists, and filmmakers are also viewed and discussed.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (047) | Sherry Antonini | Wed
8:30 AM - 11:15 AM All Online |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (048) | C. C. Ann Chen | Wed
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (049) | Ayanah Moor | Tues
3:30 PM - 6:15 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Voice and Identity Across Medium and Practice | 2900 (050) | Allie n Steve Mullen | Tues
6:45 PM - 9:30 PM In Person |
Description
What do we mean when we use the term ‘voice?’ In what way(s) is it tied to our sense of identity? Does the ‘pitch’ of our voice shift across mediums? Does it modulate or distort when we work in the commercial arts as opposed to the so-called ‘fine arts?’ What impact does the academy have on an emerging artist as they are developing that voice? And how can we possibly know when we’ve found it? This course is meant to prompt questions and discussions around the choices you will be making as you prepare for a creative life outside the academy. We will look at the blurred lines between the fine and commercial arts, identify concepts, terms, and processes that illuminate connections between the work we do across mediums, attempting to determine what constitutes an ‘identifiable personal style,’ with a special emphasis on time-based work in media and performance. 'Based on a musical and trans-political approach to work and life, an ‘in-between-ness’ that remains suspended in “a constant state of reckoning with our inheritances,” we will look at one another’s work, hear from visiting artists, discuss assigned readings, and produce short essays. Come to this course expecting to do the hard work of locating yourself in the work you do, of getting to know yourself “as a product of the historical process to date which has deposited in you an infinity of traces.” (Antonio Gramsci - The Prison Notebooks)' During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| BODY POSITIVE | 2900 (051) | Anna Martine Whitehead | Mon
12:15 PM - 3:00 PM In Person |
Description
What does one’s emergent creative practice have to do with one’s body in the world? How do we maintain the resilience and vulnerability required of artists and art students when we already feel so vulnerable in our everyday lives? How, as audiences and community members, do we share and receive feedback generously while still honoring our own lived experiences? This course offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. While the focus of this course will be on both embodied practices and the politics of having a body, it is open to all disciplines and areas of study. Through studio assignments, readings, viewings, and writing projects, students will generate a clearer understanding about how and why they make art, and how to continue making their work authentically.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (056) | Rachel Herman | Thurs
3:30 PM - 6:15 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (061) | Jasper Goodrich | Wed
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (066) | Leah Ke Yi Zheng | Wed
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Brainspace to Studiospace | 2900 (067) | Danny Bredar | Thurs
8:30 AM - 11:15 AM In Person |
Description
This Sophomore Seminar explores how artists and designers organize, prioritize, develop, and build their ideas into works in real life. Special emphasis will be put on designing projects, evaluating them, methods of critique, and idea generation. Readings and lectures will focus on different individual artists who reimagined their practices in surprising ways including Qiu Zhijie?s ?Total Art?, Mierle Laderman Ukeles? ?Maintenance Art? and Lee Lozano?s ?Drop Out Piece?. Important texts include Printed Matter?s collection of artist essays ?The Social Medium: Artists Writing, 2000-2015? and Catherine Wagley?s essay ?The Conversation: Female Artist as Art Historian? from X-Tra magazine. Students will learn to evaluate their past experiences with art and communicate about their individual practices as artists, designers, and scholars. Students will build an aspirational plan for their future at SAIC and beyond. With the goal of students will learn about how and why they make art, assignments will ask them to track their influences and reflect on what they think is valuable in culture.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (069) | Alex Cohen | Tues
3:30 PM - 6:15 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Hybrid Practices | 2900 (081) | Joshua Rios | Thurs
8:30 AM - 11:15 AM In Person |
Description
Hybrid Practices seeks to bring artistic experimentation and research-based scholarship together. In general, Visual and Critical Studies promotes academic and artistic hybridity as a way to examine the social forces that shape our lives. Many fields will be engaged, including queer and feminist theory, literature, social identity, postcolonial studies, art history, and philosophy. The goal is to support student practices by exposing them to various critical conversations related to politics (social life) and art (general creativity). This course prioritizes artists historically marginalized because of their social identities, including gender, race, ethnicity, able-bodiedness, sexual orientation, and more. Some artist, writers, and thinkers to be considered include, Black Audio Film Collective, Glenn Ligon, #decolonizethisplace, Sky Hopinka, Park McArthur, Sunaura Taylor, Michel Foucault, Super Futures Haunt Qollective, and Judith Butler. Screenings will include a variety of videos related to contemporary art and critical theory, including “Martha Rosler Reads Vogue: Wishing, Dreaming, Winning, Spending,” Forensic Architecture’s 'Rebel Architecture: The Architecture of Violence,' Coco Fusco’s “TED Ethology: Primate Visions of the Human Mind,” Paper Tiger TV’s “Donna Haraway Reads the National Geographic on Primates,” and Democracy Now’s “Freed but Not Free: Artists at the Venice Biennale Respond to the #BlackLivesMatter Movement.” Coursework includes a reading schedule, research-supported discussions, moments of creative presentation/critique, and writing assignments that engage hybrid approaches to culture, history, and theory.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Design Strategies | 2900 (086) | Alex Karenina Kostiw | Wed
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Design Strategies | 2900 (087) | Alex Karenina Kostiw | Wed
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| First Person First: An Ecology of Being | 2900 (091) | Anne Calcagno | Wed
12:15 PM - 3:00 PM In Person |
Description
All writing begins with a writer. The writer alone, the writer entering a history of writers, the writer-child, the writer-citizen. Maya Angelou wrote: “A bird doesn't sing because it has an answer. It sings because it has a song.” In short it has an “I Am.” To own up to first person is not to claim supremacy and hierarchy, but to recognize life as a source, a fountain, an ecology. From which, through your senses, those receptors of attention, you enter in vibrant conversation. This is not a course in autobiography but you will explore your body, origins, processes, senses, dreams, Muses – in an iterative fashion. Readings include poetry, fiction and nonfiction. Some artists we'll read are: Lynda Barry, Rita Dove, Stuart Dybek, Miranda July, Layli Long Soldier, Marc Richard, ZZ Packer, Leslie Jamison and David Whyte. They are our point of departure for analyzing techniques to create vibrant sensory images, shift from microscope to satellite narrative views, and enlarge our individual presence to include the Body Politic. Studio exercises will ask you to pull the world near to taste-test it, with synergy, inspiration, and playfulness. The Sophomore Seminar's Keystone Assignments are: DIY Future Project & Documentation of Practice. Your creative writing project 'This I Write' will receive an all-class workshop, for you to follow up with a re-vision.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (111S) | Sarah Jean Belknap | Mon
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (112) | Aram Han Sifuentes | Fri
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (113) | Kaylee Rae Wyant | Thurs
3:30 PM - 6:15 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (115) | Mon
8:30 AM - 11:15 AM In Person |
|
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (116) | Larry Lee | Tues
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Curious Cravings | 2900 (117) | Jill M. Lanza | Wed
12:15 PM - 3:00 PM In Person |
Description
Curious Cravings will explore making through the lens of intense curiosity and freeplay with the opportunity to research, test, and experiment chosen topics with new and familiar media. Students will find, define, and dive into what they crave. We will make time for those projects left aside and consider the desire and needs to make through experimental-based approaches in creative production and presentation development. What risks can one take to increase the message in their work with the opportunity to explore new media or a topic in depth? This course will examine artists’ practice beyond the studio, from Georgia O’Keefe’s recipes to the beauty and emotional states of Agnes Martin. Assignments will include performance based book reports and experimental research projects to pause and look into lingering interests. This course will make space for play in a busy semester. Readings will include works from Rilke, Hickey, Sontag, and expand with podcasts such as Radiolab and Sporkful. Students will leave this course with a greater understanding of their personal making process, an expanded portfolio, and a strong understanding of the possibilities in a critique and play.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (118) | Markus Dohner | Wed
6:45 PM - 9:30 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (46S) | Joseph David Belknap | Mon
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Repertoire | 2900 (68S) | Rachel Niffenegger | Thurs
6:45 PM - 9:30 PM In Person |
Description
This Sophomore Seminar section, Repertoire, is relevant to studio artists working across all media who are questioning and developing how meaning and material intersect in their work. We will focus on inventorying the entire stock of techniques and concepts explored in our work at SAIC until this point. Through critique and discussion we will iterate within our established repertoires with our sights set on developing studio practices that allow for both focus and innovation.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Studio Techniques | 3000 (001) | James Paul Wetzel | Thurs
9:00 AM - 3:00 PM In Person |
Description
Studio Techniques is an intermediate-level course that approaches the analog recording studio and its technologies as a creative environment for sound manipulation and exploration. Beginning with the sound sample as a material basis, the course combines a detailed approach to the fundamentals of acoustics and auditory perception with thorough instruction on analog signal processing and mixing. Students produce assigned and independent projects using these sample-based analog techniques. Topics are supplemented by listening exercises and examples of various artists? works to give historical and cultural context. Topics in acoustics and auditory perception include sound localization, spatial characteristics of sound, frequency spectrum, and dynamics and loudness. Artists and musicians whose works serve as examples include Carl Stone, Jaap Blonk, John Wall, Laetitia Sonami, Moreno Veloso, and others. Assigned projects include generating disparate sound materials from simple sources; composing sound/music works using self-generated samples and sources; live mixing/composing using analog technologies; independent projects using technologies and strategies introduced in the course content.
PrerequisitesPrerequisite: SOUND 2001 or permission of instructor. |
Class Number |
Credits |
DepartmentLocation |
| Intermediate Graphic Design | 3001 (001) | Donald Pollack | Mon
9:00 AM - 3:00 PM In Person |
Description
Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Offset Productions | 3001 (001) | Brian Joseph Rush | Wed
9:00 AM - 3:00 PM In Person |
Description
This class introduces students to the concepts and production of distributable artists’ projects. Working closely with faculty, students develop projects to be printed on the Heidelberg offset press and Risograph machines. Multiples such as prints, books, zines, posters, stickers, cards, and packaging are examples of potential projects that utilize these high-volume printing processes. Image creation methods include digital, photo, collage, and hand-drawing. Adobe Creative Suite and a variety of binding and packaging techniques will be demonstrated. Through hands-on examples, readings, and visits to special collections, such as the Joan Flasch Artist Book Collection, a wide range of printed work and distributable projects will be shared and discussed. Over the semester, students can expect to complete a number of multi-color offset and risograph projects and participate in two critiques.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Global Research Studio | 3001 (001) | Monika Niwelinska | Wed
12:15 PM - 3:00 PM In Person |
Description
Transnational Temporalities: Interdisciplinary Research and Practice is a required course for international and AICAD exchange students who are new to SAIC, but have already completed a substantial amount of advanced level or independent coursework. Students enrolled in this class will use utilize both traditional and experimental research methodologies, access the many archives and resources available at SAIC and across Chicago, and participate in a vigorous studio-based critical dialogue about their studio work with a global awareness. The course will encourage students to make connections between this class and their respective areas of studio interest or specialization – through recognition of global identities (otherness and representation, deconstructing difference, decolonization), global contextualization, global art history and it's asymmetries, as well as subject driven themes in global contemporary art: place, time, memory, materiality, body, identity, language, science, among others. To make engaging art requires the artist to recognize the cultural context of their time, to think critically in regards to that context, and to make art or design works in response. The more an artist or designer seeks to problematize and add greater complexity to what interests them, the more polyvocal their practice will become. Examples of artists and designers to be addressed in this course include: Richard Tufte, Shirin Neshat, Hito Steyerl, Zhang Huan, Mark Lombardi, Tehching Hsieh, Christian Boltanski, Kara Walker, Song Dong, Cai Guo-Qiang, Brian Jungen, Nick Cave, Doris Salcedo, Anish Kapoor, Olafur Eliasson, LaToya Ruby Frazier, Marina Abramovic, Ai Weiwei, Andy Goldsworthy, Roni Horn, Sophie Ristelhueber, Kehinde Wiley, Jeff Wall, James Turell, Lorna Simpson, Tonika Lewis Johnson, Alfredo Jaar, Dawit Petros,, Danh Vo, Guerilla Girls, Tonika Lewis Johnson (The Folded Map Project) and Lucy Orta. The course structure will provide three tiers of interaction, student to instructor, student to student, and student to content. The class relies on weekly assignment-based projects, peer-to-peer feedback, and self-paced visual material. Historical and contemporary readings and screenings provide a conceptual framework for the course work, which will include weekly reading & screening responses supporting live and online discussions (through Canvas), short visual exercises, a research presentation on a specific artist, and a final project.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Studio A: Multi-Level | 3001 (001) | Noah B Rorem | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Top:Reading Media | 3001 (001) | Peter L Haratonik | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course is an investigation of how media communicate messages and how we interpret them. From political propaganda to advertisements, television news to ?tweets?, we examine a process of critically 'reading' the many messages that we encounter on a daily basis. Through readings, class discussions, presentations and writing assignments we come to grips with what critic Stuart Ewen has called a world of 'all consuming images.' Readings include works by Plato, Marshall McLuhan, Neil Postman, Susan Sontag, Stuart and Elizabeth Ewen, and Henry Jenkins. Assignments include short critical essays on contemporary media, an in-depth at home exam based on class activity and readings, and a term paper or media presentation that analyses a current critical issue in media.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Intermediate Graphic Design | 3001 (002) | Mark Stammers | Tues
9:00 AM - 3:00 PM In Person |
Description
Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Offset Productions | 3001 (002) | Thomas Denlinger | Fri
9:00 AM - 3:00 PM In Person |
Description
This class introduces students to the concepts and production of distributable artists’ projects. Working closely with faculty, students develop projects to be printed on the Heidelberg offset press and Risograph machines. Multiples such as prints, books, zines, posters, stickers, cards, and packaging are examples of potential projects that utilize these high-volume printing processes. Image creation methods include digital, photo, collage, and hand-drawing. Adobe Creative Suite and a variety of binding and packaging techniques will be demonstrated. Through hands-on examples, readings, and visits to special collections, such as the Joan Flasch Artist Book Collection, a wide range of printed work and distributable projects will be shared and discussed. Over the semester, students can expect to complete a number of multi-color offset and risograph projects and participate in two critiques.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Studio A: Multi-Level | 3001 (002) | Sam Jaffe | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Top:Wandering Uterus | 3001 (002) | Terri Kapsalis | Thurs
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary course approaches the topic of gender, race, and medicine from cultural, historical, and scientific perspectives. We consider hysteria (purported to be caused by a 'wandering uterus') and other mental afflictions associated with sex and gender, the foundation of U.S. gynecology and its dependence on enslaved bodies, the Women's Health Movement and its legacy, queer and trans health issues, and sex health education. Readings include works by Audre Lourde, Charlotte Perkins Gilman, Elaine Showalter, Leslie Feinberg and Andrea Smith. We will also consider the ways in which artists have addressed issues of gender, race and medicine in their work. Assignments include an interview project, written reflections, and a final research-based project.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (003) | Mary Griffin | Tues
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Top:Theorizing Disability | 3001 (003) | Joseph Grigely | Wed
12:15 PM - 3:00 PM In Person |
Description
This course is an experimental seminar devoted to recent discussions about disability in the US and in Europe: how is disability represented, and how are these representations constructed? Readings include the following, among many other texts: Georgina Kleege's Sight Unseen, Julia Kristeva's recent essays on disability, and several Supreme Court Opinions regarding ADA, including Alabama v. Garrett, Toyota v. Williams, and Tennessee v. Lane. In the second half of the semester, seminar participants present papers and related research on disability as a social and theoretical construction.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (004) | Anne Harris | Tues
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (005) | Steven Husby | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (006) | Tues
3:30 PM - 9:15 PM In Person |
|
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (007) | Judith Geichman | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (008) | Steven Husby | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (009) | Susan Kraut | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (010) | Noah B Rorem | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (011) | Josh Dihle | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (012) | Herman Aguirre | Fri
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Large-Format Camera | 3002 (001) | Sara Condo | Wed
9:00 AM - 3:00 PM In Person |
Description
Large Format Photography introduces students to the ideas and aesthetics associated with a large-format view camera. Students will learn pre-visualization, camera movements, perspective control, large-format optics, and how to handle large format sheet film. Assignments focus on portraiture, landscape, studio, and architecture. Students are encouraged to develop a personal style via flexible assignments. Technical skills acquired include view camera setup and control, experience with sheet film, the zone system, large format scanning, and analog and digital printing. All enrolled students are assigned a 4x5 studio camera and will have access to an 8x10 and 4x5 field cameras, along with a variety of optics and accessories. A variety of technical readings from multiple sources will help students understand perspective control, camera setup, lens choice, bellows extension, available film choices, exposure, and reciprocity compensation associated with large format photography. Additional readings and screenings will provide examples of historical and contemporary work created utilizing large format photography, and highlight the cameras meditative qualities and excellent resolution and control.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Survey of Literature II:Modernism and Beyond | 3002 (001) | Todd S. Hasak-Lowy | Thurs
3:30 PM - 6:15 PM In Person |
Description
In “The Critic as Artist” (1888), Oscar Wilde argued that the creative and the critical faculties are equally important, acutely breaking with the Romantic notion that poetic license issues from an innate gift on the part of the individual, whose unconscious emotions and ideas provide the source of an artwork. Wilde claimed that “No poet sings because he must … [but] because he chooses to sing …There is no fine art without self-consciousness, and self-consciousness and the critical spirit are one.” This course surveys some ways the next century would prove his point, especially but not solely, among queer and American countercultural, avant garde poets. We will read poetry, fiction, and plays, as well as literary and cultural criticism by Gertrude Stein, Aimé Césaire, Jack Spicer, Audre Lorde, Pamela Lu, and others. We will also survey the generative clash between the New Narrative and L=A=N=G=U=A=G=E movements, swirling with sexual, political, and theoretical frisson.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Funny Painting | 3002 (001) | Scott Reeder | Wed
9:00 AM - 3:00 PM In Person |
Description
This course will explore the many varied possibilities of humor and painting. Through studio work, readings, presentations, and in class critique students will investigate both funny Ha Ha and funny Peculiar; drawing inspiration from alternative figures in art history as well as alternative approaches to making. Special emphasis will be placed on artists who employ an interdisciplinary studio practice. Some examples of artists to be discussed; Martin Kippenberger, Dieter Roth, David Shrigley, Paul McCarthy, Brenna Murphy, The Hairy Who, The Gutai Movement, Erwin Wurm, Rachel Harrison, Maurizio Cattelan, Arte Povera, Tom Friedman, Jessica Stockholder, Sigmar Polke, Francis Picabia.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Pictorial Structures | 3002 (003) | Richard Hull | Fri
9:00 AM - 3:00 PM In Person |
Description
In this class we will go to the galleries in the museum every week, looking at and talking about how paintings are made, focusing on the underlining pictorial structure: the way artist in the past created a pictorial tension that still give the paintings presence today despite what might seem to us as anachronistic subjects. We will spend the majority of the time in the studio working and hopefully applying what we learn in the museum to your paintings. There is no stylistic agenda for this class: It's not what it is; it's what it does.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Video Everywhere | 3003 (001) | Eric Fleischauer | Mon
9:00 AM - 3:00 PM In Person |
Description
This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed.
PrerequisitesFVNM 2000 or FVNM 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Studio: Remote | 3003 (001) | Daniel Robert Gunn | Wed
6:45 PM - 9:30 PM All Online |
Description
This course investigates strategies to develop and maintain a painting practice within the context of a home or off-campus studio. Painting materials, application, color, form, and contemporary and traditional methodologies will all be examined. Focus will be given to the development of safe home studio practices. Designed to accommodate many skill levels, students will explore various creative strategies through a skill-based curriculum as well as individual projects Lectures and assignments will focus on developing a home studio practice, as well as contemporary painting in general. Students will review a wide variety of current and past painters, with emphasis placed on diversity and recontextualization of the traditional canon. PTDW/StudioLab-developed content for a safe home studio practice, including readings and video tutorials, will be shared and explored. Other critical readings may be assigned at the discretion of the faculty. The course leaves room for differing approaches by section and faculty, much like a Multi-level Painting course, but with an added focus on home studio practice. Course work will vary by section, but will typically include a mixture of short, focused studio assignments, in combination with longer, individually driven projects. Critiques and one-on-one discussion will occur throughout the semester, culminating in a final critique, based on work created throughout the semester, or on a culminating independent project. Readings and tutorials on home studio practice will be assigned throughout the semester as needed.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Individual Projects | 3004 (001) | Nathan Miller | Mon
9:00 AM - 3:00 PM In Person |
Description
Every idea has a medium most suited to its execution, but often not the one in which the artist is working. This class considers new ways of translating ideas into other media to develop a sense of possibilities beyond the straight photograph. Conceptual art has given us an understanding of the triggers that might provoke an investigation of layers of meaning within the simplest of ideas. Assignment encourage students to think beyond the usual way they work and include the use of collaboration, installation, audio, video, live feed, the internet, performance, and performative uses of photography.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentLocation |
| Top: Spatial Audio | 3004 (001) | Joseph Michael Kramer | Mon
9:00 AM - 3:00 PM In Person |
Description
This class goes beyond the idea of ?surround sound? to consider the possibilities and challenges inherent in presenting sonic compositions to listeners through something other than the default left and right loudspeakers. From the spatial illusions of stereo and ambisonic arrays to tiny, tinny speaker fields, techniques for designing and experiencing multichannel, spatialized sound work will be explored. Emphasis will be given to emerging technologies and experimental techniques. DIY approaches and accessible tools, such as those available for VR sound, will be explored on the path to a practice that foregrounds the presentation of sound in space. A case for mono will be considered. Some of the artists whose work we will explore include Janet Cardiff, Natasha Barrett, Iannis Xenakis, Florian Hecker, and Tristan Perich. Readings will include artist statements as well as technical manuals for relevant tools. Weekly assignments are designed to emphasize specific technical or aesthetic concerns such as issues of electronic and acoustic power, multichannel playback formats, spatial audio in virtual reality, audience experience and the ?sweet spot?. One to two portfolio projects will be created and presented in class in two formal critiques.
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Credits |
DepartmentLocation |
| Advanced Shape and Theory in Garments | 3005 (001) | Benjamin Larose | Fri
9:00 AM - 3:00 PM In Person |
Description
This advanced level course examines the transformation of form and identity with the body. Particular emphasis will be placed on challenging the literal definition of garment through various processes such as draping, deconstruction and reuse. Students will explore scale and materials from hard to soft, flexible and rigid. Projects using found objects and alternative resources will also be introduced. Through various assignments, students will be encouraged to expand outside the common solution, using unfamiliar territories, placing them in new context. Several projects are assigned involving individual and group critiques with development of personal direction related to contemporary issues. Parallel development in sculptural practices and design will also be examined to see the emerging context of garment as art.
PrerequisitesStudent must have completed any 2000 Level FASH course |
Class Number |
Credits |
DepartmentLocation |
| Top: Photo Matter | 3005 (001) | Aimee Beaubien | Tues
9:00 AM - 3:00 PM In Person |
Description
Photographic information permeates our daily lives. PHOTO MATTER explores the materiality of photographic image-making by delving into the realms of appropriation, montage, and collage to strategies interwoven with the sculptural and installation. Through a dynamic combination of creative exploration and critical inquiry, students will craft a compelling body of work in their chosen form that resonates with their line of inquiry. Our course activities will revolve around the cultivation of individual artistic production, embrace the tangible nature of photographs while analyzing the works of influential artists, and noteworthy exhibitions. As artists and creators, we will experiment with innovative approaches to presentation methods, venturing into alternative spaces and exhibition making. By seamlessly fusing research, materials and techniques, we will create surface tensions and expand the capacities of photographic meanings.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Stitch | 3005 (001) | Melissa Leandro | Fri
9:00 AM - 3:00 PM In Person |
Description
In Advanced Stitch- Students pursue a strong personal direction while continuing to develop a technical vocabulary and conceptual concerns. Moving across hand stitching and embroidery to using free motion sewing machines, the long arm quilting machines and digital embroidery machines, the class explores themes of gesture, line, speed, slowness, process, and materiality, with an emphasis on surface manipulation and scale. Group critiques encourage individual goals and develop an ongoing dialogue about contemporary issues. Field trips, group discussions, visual presentations, and readings will augment this studio-focused course. Course work will vary but typically includes critique projects, samples, and reading responses.
PrerequisitesFIBER 2005 or Sophomore Level |
Class Number |
Credits |
DepartmentLocation |
| Top:Fashion Photography | 3005 (003) | Mayumi Lake, Donald Yoshida | Thurs
9:00 AM - 3:00 PM In Person |
Description
Class objectives are to provide students with an opportunity to work through the process of concept development, pre-production, fashion Styling, hair & markup, set design, location scouting, studio & natural lighting techniques, digital post production, and how to capture the essence of the fashion theme through tested photography techniques. Garment silhouette, cut & construction, color, pattern and texture are key elements given consideration to clearly communicate the fashion design idea using the most up-to-date and effective photographic techniques. Editorial Photography themes are used in collaboration with Fashion students’ garments and class photo shoots are used throughout the Fashion Department’s annal award-winning “the Book” publication. Visits to professional fashion photographer studios, exhibition visits, and in-class lectures give students additional opportunities to discuss create and technical topics being used today in fashion photography. Application is required for consideration.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top:Fashion Photography | 3005 (003) | Mayumi Lake, Donald Yoshida | Thurs
9:00 AM - 3:00 PM In Person |
Description
Class objectives are to provide students with an opportunity to work through the process of concept development, pre-production, fashion Styling, hair & markup, set design, location scouting, studio & natural lighting techniques, digital post production, and how to capture the essence of the fashion theme through tested photography techniques. Garment silhouette, cut & construction, color, pattern and texture are key elements given consideration to clearly communicate the fashion design idea using the most up-to-date and effective photographic techniques. Editorial Photography themes are used in collaboration with Fashion students’ garments and class photo shoots are used throughout the Fashion Department’s annal award-winning “the Book” publication. Visits to professional fashion photographer studios, exhibition visits, and in-class lectures give students additional opportunities to discuss create and technical topics being used today in fashion photography. Application is required for consideration.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top: Self Portraiture – Race, Representation & Ide | 3005 (005) | Lali Khalid | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to self-portraiture and complex intersections of race, representation, and identity in contemporary photography. Students will be analyzing the impact of historical visual narratives on contemporary perspectives while developing critical skills to deconstruct visual representations, specifically examining how different media constructs, and portrays race and identity, through a stereotypical, myopic lens. Students will be introduced to artists from all over the world, particularly photographers from marginalized communities who challenge stereotypes and amplify underrepresented voices.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top: Black Feminisms | 3007 (001) | Kirin Wachter-Grene | Fri
12:15 PM - 3:00 PM In Person |
Description
This course guides students from the nineteenth-century to the present to consider how Black feminisms, plural, have complicated, critiqued, and re-imagined feminist and anti-racist theories of race, sexuality, gender, class, power, and pleasure and continue to innovate. Major historical interventions covered include Evelyn Brooks Higginbotham’s history of respectability politics and Brittney Cooper’s nuancing of it; The Combahee River Collective’s and Kimberlé Crenshaw’s theories of interlocking oppressions and “intersectionality”; Jennifer C. Nash’s critique of the institutionalizing of intersectionality; Alice Walker’s alternative construct of “womanism”; Patricia Hill Collins’ concept of “controlling images”; and bell hooks’ “oppositional gaze.” We will then explore new theories in contemporary Black feminism that move away from what critic Jennifer C. Nash calls “protectionist” frameworks to articulate a politics of pleasure. Here, readings include selections from adrienne maree brown, Mireille Miller-Young, LaMonda Horton Stallings, Joan Morgan, and more. Students should expect to read on average 50 pages of critical scholarship per week and to write about it and discuss it in depth. Students should also expect to take turns as discussion leaders. For their final project, students will write a critical/creative Biomythography inspired by Audre Lorde’s Zami: A New Spelling of My Name, one of the core texts of the class.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| Analog Electronics | 3007 (001) | Brett Ian Balogh | Tues
9:00 AM - 3:00 PM In Person |
Description
Even though we live in a primarily analog world, most of our experience of modernity is digital. We will examine the similarities and differences of these two worlds through the lens of electronics, focusing on the role of analog systems in art-making. The course provides a hands-on exploration of analog sound and video circuit elements and systems as well as a survey of relevant artists, artworks and practices. Students will be able to make a variety of works, including performance, interactive objects and environments, still images, audiovisual instruments, audio pieces, and video, to name a few. Course activities will be supported by the purchase of a kit of resources to facilitate hands-on exploration. Each student will research a topic of interest and will respond to it through the lens of their own practice in the creation of a final project. No prior skills in electronics or art and technology studies are required; however, curiosity and a willingness to learn are a must.
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Credits |
DepartmentArea of StudyLocation |
| Top: Gender: Theory & Action | 3007 (002) | Whitney D. Johnson | Tues
12:15 PM - 3:00 PM In Person |
Description
Gender theory is mobilized in feminist activism toward a variety of goals. This course will offer a survey of social theories of gender and will proceed to identify them as the foundations and justifications of social movements in each wave of feminism. Theories include de Beauvoir, Crenshaw, Rubin, Schilt, and Butler. Social movements will include suffragettes, NOW, the Combahee River Collective, riot grrrl, Sisters in Islam, and transgender social movements.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Topics in Gender and Sexuality | 3007 (003) | Susan Bay | Wed
6:45 PM - 9:30 PM In Person |
Description
Topics courses in gender and sexuality studies are used to provide a broad interdisciplinary introduction to and more thematically-specific knowledge of historical and contemporary topics in gender and sexuality studies. While course texts will vary depending on the instructor and topic, texts may include books, articles, book chapters, films, audio recordings and other materials used to provide insight into gender and sexuality studies. Assignments will vary depending on the instructor and topic, assignments may include quizzes, exams, standard academic papers, research papers, group projects, and other activities enhancing knowledge and understanding of gender and sexuality studies.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate/Advanced Screenprinting | 3008 (001) | Peter Power | Wed
9:00 AM - 3:00 PM In Person |
Description
Advanced exploration is encouraged in the screenprinting medium. Emphasis is placed on individual experimentation, development and the refinement of technical skills. Processes offered include large format printing, 4-color separation, and other advanced traditional photographic and digital techniques.
PrerequisitesPRINT 2005 or 2008 Pre-req |
Class Number |
Credits |
DepartmentLocation |
| Olfactory Art | 3009 (001) | Tedd Neenan | Tues
9:00 AM - 3:00 PM In Person |
Description
Students will investigate scent as an expressive medium. They will have access to the ATS Perfume Organ and specialized lab equipment. Course content includes basic aromatic blending, hydro-distillation extraction techniques and how to impregnate scent into various media. At least TWO works of Olfactory Art are to be completed. The last one is considered the FINAL and should be an opus ready for gallery/performance/experiential application.Students should leave this class with the ability to thoughtfully engage Olfactory Work as practitioners, researchers and thinkers within personal, historical, theoretical and conceptual contexts.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Art Therapy | 3009 (001) | Suellen Semekoski | Tues
12:15 PM - 3:00 PM In Person |
Description
This course is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.
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Credits |
DepartmentArea of StudyLocation |
| Multi-Lvl Fashion Illustration | 3010 (001) | Dijana Granov | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who have completed beginning fashion illustration. Emphasis is placed on personal style and media development. Students explore a variety of texture rendering and illustration problem solving.
PrerequisitesPrerequisite: FASH 2007 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Structuring, Sequencing and Series | 3010 (001) | Aimee Beaubien | Mon
9:00 AM - 3:00 PM In Person |
Description
Photography is everywhere. Sequences and series are the ubiquitous ways we most often see photographic images. Photographic meanings are pliable in shifting contexts from published sequences online and in print, to images in photobooks, exhibitions and installations. This class critically examines how series of images are structured and the significance those structures hold. ?That photography resists being shaped by any single set of imperatives or standards ? as it literally permeates our public and private and our rational and fantasy lives ? renders it, by its very nature unruly and hard to define.? Marvin Heiferman. This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments develop skillful use and understanding of serial imagery by engaging narrative and non-narrative strategies in a variety of sequences, books, zines, portfolios, web-based projects, installations, videos, and projected presentations.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Tutorial in Visual and Critical Studies | 3010 (001) | Danny Floyd | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course will provide a link between Issues in Visual and Critical Studies, required of all first-year B.A. students, and the Thesis Seminar required in their final year. Typically, students will take this course at the end of their second year of full-time study. Building on the Issues course, early in the course students will read material that suggests the range of possibilities for visual and critical studies. Then each student will undertake a project that focuses on some aspect of visual and critical studies of particular interest to them. The project must include a substantial written component, although it might also make use of other media. Student presentation of their projects, as works in progress and then completed work, will provide opportunity for discussion of how they might give coherence to their final semesters of study. This will include suggestions for connections they might make among different aspects of their education, and will serve as an early stage in the process of developing a senior thesis project.
PrerequisitesPrerequisite: Open to BAVCS/BFAVCS students only. |
Class Number |
Credits |
DepartmentLocation |
| Exploratory Media | 3011 (001) | Oliver Sann | Wed
9:00 AM - 3:00 PM In Person |
Description
Exploratory Media examines the fluidity and connection between various forms of media. The course builds on the history of Conceptualism, an artistic practice born in the 1960s that prioritized the idea, allowing the medium to follow as well as the highly influential theory of the medium itself being meaning and message. This course will highlight the history of artists who worked with a wandering “nomadic” mindset due to access to new technologies such as video art collectives of the 1970’s as well as photographers who work within a non-traditional lens based practice. This laboratory-like course encourages students to experiment and iterate: In this course students are asked to consider their artistic intentions through different kinds of media like performance, sculpture, sound, while also focusing on different outputs for lens based work such as alternative photographic substrates, performance, installation. The course structure relies on assignment-based projects, frequent hands-on studio experimentations, peer-to-peer feedback, and looking at other artists' work in a variety of mediums. Intermittent readings, lectures, and screenings provide a conceptual framework for this work.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sound and Image | 3011 (001) | James Paul Wetzel | Tues
9:00 AM - 3:00 PM In Person |
Description
This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing.
PrerequisitesSOUND 2001 or FVNM 2004 or FVNM 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sound and Image | 3011 (001) | James Paul Wetzel | Tues
9:00 AM - 3:00 PM In Person |
Description
This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing.
PrerequisitesSOUND 2001 or FVNM 2004 or FVNM 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Typography | 3011 (002) | Timothy Bruce | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Typography | 3011 (003) | Mark Stammers | Fri
9:00 AM - 3:00 PM In Person |
Description
This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Black Atlantic | 3012 (001) | Melanie Herzog | Thurs
3:30 PM - 6:15 PM In Person |
Description
Where is the Black Atlantic? What does it look, smell, taste, and feel like? How does it color our world? This class explores the visual and cultural history of the Black Atlantic?a phrase used to define the relationship between dissonant geographical locations that were forged into relationship with each other through the Transatlantic Slave Trade. We will forge an understanding of how vision, texture, touch, sound, and color owe their meanings through the Middle Passage and its production of arts of the Black Atlantic. Crucial to this class is the artwork of practitioners like Jacob Lawrence, Soly Cisse, AfriCOBRA, Aubrey Williams, Faustin Linyekula, Yinka Shonibare, and Renee Green. We will focus primarily on the visual history and cultural impact of the Middle Passage as discussed through the writings of Afro-Caribbean, West African, Black American, and Black British scholars. We will work with concepts like ?native? visual forms, the coloniality of painting, Negritude, and the anticolonial imagination.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| DIY: Self-Management for Artists | 3012 (001) | Cortney Lederer | Tues
12:15 PM - 3:00 PM In Person |
Description
The life of an artist is largely self-directed and self-managed. Reflecting on our current gig economy, we know that artists have always been considered the original gig workers tasked with managing an active studio practice, alongside multiple jobs and projects. DIY: Self-Management for Artists looks to the inherent management tools embodied in artistic practice, as a theoretical and practical framework to apply toward managing a sustainable and purposeful professional and personal life. This class will explore listening and critical feedback, project development and management, marketing and branding strategy, strategic planning, negotiation, building and maintaining networks, and portfolio development. Readings will vary, and include articles and excerpts from: How to do Nothing: Resisting the Attention Economy by Jenny Odell, The Art of Gathering: How we Meet and Why it Matters by Priya Parker, Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek, Critical Response Process: A Method for Getting Useful Feedback on Anything you Make from Dance to Dessert by Liz Lerman; The Artist?s Guide: How to Make a Living Doing What You Love by Jackie Battenfield, Making: Your Life as an Artist by Andrew Simonet, Living and Sustaining a Creative Life: Essays by 40 Working Artists by Sharon.Loudon Course work will vary but will include readings and critical writing responses throughout the semester, the development of a written project scope, regular class presentations and a final project on one aspect of a student's portfolio.
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Class Number |
Credits |
DepartmentLocation |
| Sound Now: Improvisation | 3012 (001) | Damon Locks | Tues
9:00 AM - 3:00 PM In Person |
Description
The focus of this class will be on improvisation within and without traditions and in relationship and juxtaposition to genre and structure. There are many manifestations across cultures of freedom and transformation through improvisation. We will look at improvisational sound, music and performance and their potentials and outcomes -- from moments of imaginative exploration inside the form, to the search for freedom, discovery and re-contextualization. We will dig into the need for improvisation, its effect on the audience, and its power to provoke cultural change. Can improvisation be a practice as a whole, an approach to all forms? Improvisation in performance and practice takes us to new places that are of the moment and a way forward, as exemplified in the work of the provocative Egyptian vocalist Umm Kalsoum who broke gender norms; Sun Ra’s sonic storytelling and myth building based on Black American cultural signifiers; the genre-bending deconstructive electronic manipulations of Mixmaster Mike. The students’ individual and collective explorations of improvisation in their own practice will be fueled by discussions, recordings, performance documentation and texts by artists, practitioners, and writers, including Rob Mazurek, Tomeka Reid & Nicole Mitchell, Wadada Leo Smith, Sun Ra, Umm Kalsoum, Kid Koala & Mixmaster Mike, and more. Students engage in a variety of in-class approaches to individual and collective improvisation. These include exercises on exploring and expanding one's instrument of choice, close-listening and responsive-listening projects aimed at increased attention to collaborators in the moment, and projects in which cross-cultural and historical approaches to improvisation are analyzed and mobilized towards individual interpretation. These are amplified by meetings with visiting artists who share their experiences of improvisation in a wide range of contexts.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| New Cultures of Work | 3014 (001) | Jefferson Dakota Brown | Fri
3:30 PM - 6:15 PM In Person |
Description
Starting from a historical survey of socialist, feminist, and black radical critiques, this course explores the intensification of work in the 21st century. Course texts trace continuity and change in working conditions through (1) empirical studies and testimonials; (2) theoretical analysis and interpretation; and (3) depictions in art, writing, and film. Topics include waged and unwaged labor, automation and deskilling, and the growing precariousness of employment contracts. The course closes with a consideration of recent debates on creative work, care work, universal basic income, and “fully automated luxury communism.” Assignments include brief but regular written responses and a final paper.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Mathematical Secrets of Music | 3015 (001) | Eugenia Cheng | Mon
8:30 AM - 11:15 AM In Person |
Description
We will study aspects of abstract mathematics as exemplified by Western Classical Music. We will look at classical music notation, notes and tonality, as well as the sounds that instruments and voices make, and at a broader scale the overall structure of pieces of music. Mathematics will be used to analyse, explain and clarify all these aspects of music. There will be a broad range of math topics from all the major branches of pure mathematics including algebra and group theory, number theory, calculus, fourier analysis and topology. These will be built up from the basics and unlike in a standard math class, the examples will all be aspects of music. The music will be western classical music including works by Bach, Schubert, Brahms, Chopin, Debussy, Stravinsky, Schoenberg, Wagner, Janacek, Shostakovich, Britten, Messiaen. Assignments will take the form of math problems, open book quizzes, application of math to analyse existing music, application of math to generate and transform original music, and reflective writing assignments. No memorisation will ever be required.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Artist in the Here and Now | 3015 (001) | Lorraine Peltz | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course will examine the many issues and contexts surrounding what it means to be an artist today. We will consider the multiple positions of the artist in contemporary culture, their relationships to their audience(s) and to the market, and closely examine major themes and strategies in contemporary art-making. Students will further investigate and articulate their own practice and its relationship to larger creative and cultural structures to contextualize their own goals and desires for their work. What does it mean to be an artist at this moment in time? This is the fundamental and critical question of the course, and as the course proceeds, will yield a broad and diverse range of responses. We will be reading excerpts from Ways of Seeing, John Berger; ?What Art Is and Where it Belongs,? Paul Chan; and Carter Ratcliff. Additional readings and videos will be topical, and come from current sources as the New York Times, ArtNews, Artforum, The Guardian, Aperture, the NewYorker, Interview Magazine, Artnet, Hyperallergic, the Observer and Jsonline. The class consists of discussions of current readings and videos on contemporary artists, exhibitions, and themes, visits to gallery and museums, guest speakers, and student presentations. Each student will lead a discussion on selected contemporary artists and specific readings from our class syllabus. Students present their work at the beginning of the semester and the end, create an artist statement, artist bio, and a Powerpoint presentation on their work in relation to the artists and topics discussed in class. This class is driven by discussions and each student's full participation is expected.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Mathematical Secrets of Music | 3015 (002) | Eugenia Cheng | Mon
12:15 PM - 3:00 PM In Person |
Description
We will study aspects of abstract mathematics as exemplified by Western Classical Music. We will look at classical music notation, notes and tonality, as well as the sounds that instruments and voices make, and at a broader scale the overall structure of pieces of music. Mathematics will be used to analyse, explain and clarify all these aspects of music. There will be a broad range of math topics from all the major branches of pure mathematics including algebra and group theory, number theory, calculus, fourier analysis and topology. These will be built up from the basics and unlike in a standard math class, the examples will all be aspects of music. The music will be western classical music including works by Bach, Schubert, Brahms, Chopin, Debussy, Stravinsky, Schoenberg, Wagner, Janacek, Shostakovich, Britten, Messiaen. Assignments will take the form of math problems, open book quizzes, application of math to analyse existing music, application of math to generate and transform original music, and reflective writing assignments. No memorisation will ever be required.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Footwear Design | 3016 (001) | James Robert Sommerfeldt | Thurs
3:30 PM - 9:15 PM In Person |
Description
In an advanced exploration of footwear design and making, lectures discuss the history of shoes and boots and both historic and contemporary methods of construction. Student explore advanced pattern-making and experimental construction. Projects include footwear samples and a visual presentation of a concept with design illustrations.
PrerequisitesPrerequisite: FASH 2016 or instructor consent |
Class Number |
Credits |
DepartmentLocation |
| Permeable Membranes | 3016 (001) | Jade Yumang | Fri
9:00 AM - 3:00 PM In Person |
Description
A membrane is a thin, typically planar structure or material that separates two environments, be those physical, molecular, or cultural. This class investigates this transitional space, and the potential for movement and transgression through it. Membrane structures are developed as surfaces, forms, and spatial relationships through techniques like chenille quilting, free motion sewing with a soluble membrane, nuno felting, papermaking in 2D and 3D, resist wax dyeing (batik), dip and wick dyeing, fabric burnout (devore) through silkscreening, protein/cellulose combination dyeing, and jacquard crocheting. Readings on conceptual permeability will include Jean Baudrillard?s ?Simulacra and Simulations?, Andrew Ballantyne?s ?Remaking the Self in Heterotopia?, Homi K. Bhabha?s ?On `hybridity? and `moving beyond??, and Roger Cardinal?s ?Secrecy?. Techniques will be divided into three major projects with written statements. This course also requires artist and reading presentations.
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Class Number |
Credits |
DepartmentLocation |
| Digital Jacquard Weaving: Zeroes and Ones | 3017 (001) | Danielle Andress | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom Utilizing Photoshop and Jacquard weaving software, students will realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom?s use of punched cards and the history of computers will be central to the course, as will the contemporary use of the loom as a new media tool. Studio work will blend work at the computer, weaving on the loom, reading, research and critical discussion.
PrerequisitesPrerequisite: Sophomore-level or above. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Multi-Level Knitwear: Machine Structures | 3018 (001) | Jennifer Michelle Plumridge | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course enables students who hand knit to pursue the challenge of creating garments and/or objects with knitting machines. Through demonstration and discussion of traditional basic methods and structured exercises will give the students a foundation in various stitch patterns and techniques. Shape and fit along with texture manipulation are explored. Historical reference as well as current contemporary design concepts will be researched enabling students to focus on individual design to produce a garment or an object. Students will design, sample and explore possibilities in a traditional and non-traditional manner using various materials.
PrerequisitesStudent must have completed any 2000 Level FASH course |
Class Number |
Credits |
DepartmentLocation |
| Women Artists in Cyberspace | 3018 (001) | Judy Malloy |
TBD - TBD All Online |
Description
With a concentration on creative practice in online environments, students will focus on the work of women, from the early days of computing, to the late 20th century, to the 21st century. In addition to lectures, readings, and traversals, practicum segments will guide student creation of online works that explore and expand on the role of women in cyberspace. Beginning with the work of women software engineers, such as black mathematician Katherine Johnson, and engineer and transgender activist Lynn Conway -- and with a project-oriented focus -- the course will look at the cyberspace-based work of women artist innovators, including ECHONYC founder, Stacy Horn; Cave Automatic Virtual Environment developer Carolina Cruz-Neira; and Ping Fu and Colleen Bushell's role in graphical interface design for Mosaic. At its core, the course will focus on the works of women cyberartists, including Joan Jonas, Sherrie Rabinowitz, Nancy Paterson, Brenda Laurel, Pamela Z, Char Davies, Lynn Hershman Leeson, Shu Lea Cheang, Tamiko Thiel, Carla Gannis, and Micha Cardenas. Students will create women-centered virtual art works, including graphic narratives and electronic manuscripts, and/or archives, online essays, or criticism. Note that because Women Artists in Cyberspace is an asynchronous class, attendance on a specific day or time is not required.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Artists' Books | 3018 (001) | Myungah Hyon 현명아 | Wed
9:00 AM - 3:00 PM In Person |
Description
This course offers advanced exploration with visual and written material in paged sequence. Ideas are encouraged within a broad range of possibilities, via the format of the artist' book. The development of a major project is encouraged.
PrerequisitesPrerequisite: PRINT 2018 or PRINT 3007. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Material Actions | 3018 (001) | Max Guy | Wed
9:00 AM - 3:00 PM In Person |
Description
Artists have interacted privately and publicly in a variety of performative forms with 'stuff' such as food, sculptures, costumes, found objects, natural materials and mass-produced objects. This course investigates the ways in which material can be at the center of performance works. Through a series of assignments, students research materials from scientific, historical, phenomenological, metaphoric, symbolic, sociological and political perspectives; and produce personal and collaborative pieces in a variety of sites and settings.
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Class Number |
Credits |
DepartmentLocation |
| Hardware Hacking | 3020 (001) | Nicolas Collins | Tues
9:00 AM - 3:00 PM In Person |
Description
This is a class is hardware hacking for audio applications (and a little video as well). No previous electronic experience is assumed. Basic soldering skills will be learned through building contact microphones and coils to sniff electromagnetic fields. We will then open up a range of battery-powered 'consumer' technology (radios, boom boxes, electronic toys), observe the effect of direct hand contact on the circuit boards, experiment with the substitution of components, and listen to unheard signals running through the circuit. Knowledge acquired through this process will be applied to building circuits from scratch (oscillators, amplifiers, fuzztones, sequencers etc.), both from documented designs and as invented by yourselves. Video and audio playback and performance as relevant to the class projects. Readings from the required textbook, Handmade Electronic Music -- The Art of Hardware Hacking. Numerous projects to be completed in and out of class; final project based on course material.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ceramics for Designed Objects | 3020 (001) | Chris Salas | Fri
9:00 AM - 3:00 PM In Person |
Description
This course takes students on a journey through the changing landscape of ceramic art, design, and production. Recent advances in rapid prototyping technologies provide designers and artists with more direct means for transforming concepts into physical form. In this course, students explore various ways to apply advanced technologies to ceramic design and production. Students will acquire basic skills in clay modeling methods, plaster mold making, slip casting, 3D Scanning, digital modeling, and digital output methods including 3D Printing and Laser Cutting. Basic knowledge for Rhino and/or other 3D modeling software is required. The technologies and methods for ceramic production have been developing over the course of thousands of years, often linked to specific material/cultural histories. Digital tools afford makers the ability to create, manipulate, distort, and ideate without the constraints of the ceramic process. Through slide lecture, readings, group discussions, demonstrations, and self directed projects, we will consider ceramic production methods of the past and how they influence contemporary art and design practices. In this course we will ask the questions: What are the benefits and the challenges of using ceramic materials? How can we use digital tools to assist in the ideation, prototyping, and the production of ceramic objects? How can we use ceramic materials to assist in the ideation, prototyping, and production of digital objects? What is the interplay between the digital object and the ceramic object?
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Credits |
DepartmentArea of StudyLocation |
| Latinx Art and Visual Culture | 3020 (01S) | Mon
8:30 AM - 11:15 AM In Person |
|
Description
This course examines the dynamism and complexities of Latinx artistic and cultural production in the United States from the mid-twentieth century to the present. An imperfect yet ultimately generative identifier, Latinx is a gender-neutral term for people of Latin American and/or Caribbean birth or descent living in the United States. In addition to studying the formation of Latinx identities among artistic and creative practitioners, the course will study the context-specific histories that have shaped the aesthetics, ideological frameworks, and socially engaged practices of Latinx art and visual culture. We will read a variety of texts and publications that debate, conceptualize, and critique Latinx art and visual culture, including academic essays and book chapters, interviews and dialogues, exhibition catalogues, primary documents and manifestos, artists’ books, and zines. Throughout the class, we will investigate issues concerning race and ethnicity, gender and sexuality, intersectionality, migration and diaspora, social and political activism, family and kinship, religion and spirituality, art markets, and cultural reclamation. Students can expect to complete weekly reading responses, a midterm exam, a 3-5-page essay on an exhibition or artwork, a final research paper, and a class presentation about their final paper topic.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Intensive Portfolio | 3021 (001) | Johnny Diamandis | Mon
9:00 AM - 3:00 PM In Person |
Description
This class focuses on the visual development of an individual fashion portfolio, culminating in a presentation on fashion design. Students learn the skills necessary in the fashion industry - how to draw technical flats, fashion illustration, and layout planning - skills through which students explore new concepts and create collections. With this industry-ready portfolio, students will have the professional body of work to compete in the rigorous and competitive field of fashion.
PrerequisitesFASH 2900 or Instructor Permission |
Class Number |
Credits |
DepartmentLocation |
| Beginning Screenwriting | 3024 (001) | John Petrakis | Tues
3:30 PM - 6:15 PM In Person |
Description
This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Screenwriting | 3024 (002) | Gitanjali Kapila | Fri
8:30 AM - 11:15 AM In Person |
Description
This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Art of Nonviolence | 3025 (001) | Suellen Semekoski | Tues
3:30 PM - 6:15 PM In Person |
Description
This course explores nonviolence through the nexus of contemplative reflection and people powered direct action. Research includes identifying personal, local and global exemplars of creative nonviolence through arts based inquiry. The history of nonviolence, the role of arts in nonviolent movements, mindfulness practices and nonviolent communication are foundations for the culminating project of the class. Students will engage in shared collaboration of artistic practices with an existing social action group in exploring love and protection or Gandhi?s soul force or Satyagraha.
PrerequisitesPrerequisite: Must have completed one Art Therapy, Art Ed or Artsad class prior to enrolling. |
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Credits |
DepartmentArea of StudyLocation |
| Lit Art: Literary styles of describing, interpreting, and explaining works of art. | 3025 (001) | David Raskin | Mon
12:15 PM - 3:00 PM In Person |
Description
This undergraduate seminar is for all types of writers (critics, creative writers, and scholars) who want to analyze the dimensions of literary and scholarly forms of description, interpretation, and explanation. Poetry, short stories, personal essays, passages from novels, and art-history articles will form the ground for weekly encounters with works of art in the Art Institute of Chicago, as we compare what we read to what we encounter in person. Each class meeting has a tripartite structure, as we compare a literary engagement with a work of art, evaluate a scholarly argument about the same piece or its creator, and personally engage the same or similar work in the Art Institute of Chicago. We will respond to the works of art currently on display, and, as warranted, pair the appropriate scholarship with creative works by writers such as Ada Limón, Victoria Chang, Hilton Als, Diane Seuss, Mark Doty, Hanif Abdurraqib, Wayne Koestenbaum, Vivek Shraya, Cris Kraus, Ben Lerner, Teju Cole, Eileen Myles, Gwendolyn Brooks, Paisley Rekdal, Zadie Smith, Jeffrey Yang, and John Ashbery, among others. Students will write concise analyses of every reading assignment plus a weekly follow-up reflection as preparation for a final hybrid research paper that situates their personal moment of encounter with a work of art in the Art Institute of Chicago within art-historical scholarship. The goal is for students to probe their personal experiences with art for wider cultural implications.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Experimental Film and Video Narrative | 3026 (001) | Melika Bass | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is a production class designed for students interested in alternative modes of narrative production in film and Video. Through workshops on writing, acting, and directing, students learn to work with actors, dialogue, and alternative narrative structures. Students apply the concepts covered in class to their selected projects, from production through editing. Throughout the course, a wide range of narrative films utilizing experimental modes of production are screened. Technical issues are covered in cinematography workshops, but it is assumed that students have a solid technical grounding in their medium of choice. Though the body of this class focuses on film and video production, the class is also appropriate for students working in performance and sound.
PrerequisitesPrerequisite: FVNM 2005, 3003 or 5020 |
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| Head Space:Advanced Millinery | 3027 (001) | Eia Radosavljevic | Wed
9:00 AM - 3:00 PM In Person |
Description
Hats are conceptually powerful and visually important in both fashion design and performance. In this advanced course, headwear methodologies are explored through the challenges of wearable volume, relation of designed object to head, and couture-level workmanship, while underlying concept, innovative design, and technical dexterity are simultaneously stressed. A series of traditional hat-making techniques, e.g., wire-framing, blocking and draping, are explored and then expanded upon through alternative methods and materials to create wearable forms. Questions regarding the function and relevance of fashion and headwear, and their potential for interdisciplinary contextualization help drive students’ design development. Select texts by authors such as Ann Albrizio, Susan Heiner, Stephen Jones, Simon Kelly, and Howard Risatti, may be included for further information. Works by historical and contemporary milliners like Solange de Fabry, Stephen Jones, Philip Treacy, and Madame Paulette provide context and inspiration, along with films and videos that highlight or explore headwear. Students with an interest in object design, sculptural practices or other making processes and disciplines are also welcomed with permission from the instructor. The semester culminates in SAIC’s annual Headwear Awards judging.
PrerequisitesStudent must have completed any 2000 Level FASH course |
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Credits |
DepartmentLocation |
| Handmade Cinema | 3027 (001) | Tatsu Aoki | Mon
9:00 AM - 3:00 PM In Person |
Description
Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing.
PrerequisitesFVNM 2000 or FVNM 5020 |
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Credits |
DepartmentArea of StudyLocation |
| New Realities: Simulations of Future Worlds | 3028 (001) | Kristin McWharter | Wed
9:00 AM - 3:00 PM In Person |
Description
As we adapt to the evolving demands of our politics and environment, we are often asked to prepare for a 'New Reality'. How are 'New Realities' imagined and formed? How can the act of imagining become a tool of creation?, This course will technically and conceptually explore what it means to create and simulate ?new realities? within game engines. As XR (extended reality) technologies such as virtual reality and augmented reality devices have become untethered, video game entertainment has become as ubiquitous as film, and user familiarity with the rhetoric of virtual worlds has become more common, this course will expose students to the many modalities in which game engines can be used to produce artwork. Exploring histories of artists using digital media and simulation to produce interactive and highly immersive experiences, this course offers students technical guidance in creating artistic output from game engine tools, while learning from artist practices of that range from games, animation, simulation, to machinima (cinematic film captured from game engine worlds). With an emphasis on how interactive 3D worlds interact with our increasingly online and virtual routines, students will build projects that explore themes of participation, movement, behavior and world building to investigate our perceptions of ?reality?. The collected group of individuals in this class will act as an experimental lab of participants, collectively and individually pushing the boundaries between the virtual and the physical. Primarily working with the software Unity, this course will include technical demos, readings, and investigations into the histories of immersive media, machinima, and play as an artistic medium. Previous experience working with Unity recommended but not required. Course work will vary but typically includes weekly reading responses, a mid term project, a final project as well as in class demos and workshops. Students may work collaboratively on these projects if they choose.
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| The Unpainted Picture | 3028 (001) | Alexandria Eregbu | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course will consider how to compose a picture plane with a variety of materials including paper collage, fabric piecing, applique, heat press, direct dye application and other handwork, to create line and form. Students will make use of drawing and form invention methods including stitching and dying, in conjunction with, or in place of, painted surfaces. Projects and critiques will address the critical use of compositional elements and materials within the picture plane.
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| Figure Painting A: Multi-Level | 3030 (001) | Larissa Setareh Borteh | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary.
PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
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Credits |
DepartmentArea of StudyLocation |
| Installation Art | 3030 (001) | Elizabeth Cote | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course is a structural and poststructural investigation of sculptural site activation. The students explore the theory and practice of how work gets contextualized and redefined through its placement within a larger social, political, and economic sphere of meaning. Students investigate options and determinants operative in both indoor and outdoor sites, installations, and environments. Although the focus of the class is contemporary, topics of discussion range from Rodin's Burghers of Calais to the public projections of Krzysztof Wodiczko. An indoor space is available for student use and cooperative interaction is encouraged. Prerequisite: intermediate level work in any media or consent of instructor.
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| Figure Painting A: Multi-Level | 3030 (002) | Sheridan Gustin | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary.
PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Without Walls - Puppetry In the Outdoors | 3031 (001) | Blair Thomas | Fri
9:00 AM - 3:00 PM In Person |
Description
Combining both medieval and contemporary performance practices, this class probes the possibilities of object and figure theater performance in the outdoor setting. We will examine the Renaissance spectacles of Piero di Cosimo, the Eastern European Happenings, the public ceremonies of Welfare State International and the street protest of Bread & Puppet Theater. Exercises will explore the making of large-scale graphic image making, such as Cantastoria, Banners and Scrolls. Through group collaborations the class will learn giant puppet making techniques and construction. The class will culminate in an all class outdoor spectacle.
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| Africa and West Asia: Decolonization and Art | 3031 (001) | Tina Barouti | Tues
12:15 PM - 3:00 PM All Online |
Description
What is artistic decolonization? How can art be used as a tool for decolonizing culture? In this course, students will explore ways of approaching these questions through specific case studies that look at artistic practices of Africa and West Asia (Middle East), particularly from the mid-twentieth century to the present. Together we will examine how colonialism affected fine arts pedagogy and the response of visual artists, both modern and contemporary, to this violent encounter. We will analyze how artists engaged with multidisciplinary networks working across “non-Western”contexts to reclaim their identity from colonizers and to envision alternative futures. Students will explore how art is intertwined with socio-political issues and how it can amplify Indigenous, feminine, and queer perspectives. Each week will typically focus on an artistic group or a country-specific case study from Africa and West Asia (Middle East). There will be several guest lectures by curators, academics, and artists. Course work will include written weekly responses to assigned readings, presentations, and a final essay or exhibition project proposal.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| Fig Ptg B:The Portrait | 3031 (001) | Anne Harris | Wed
9:00 AM - 3:00 PM In Person |
Description
This is an intermediate/advanced class that will function both as studio course and in-depth conversation. Students will work on individual projects and will participate in group critique/discussion. Skill sets will be addressed as needed (the form of the head, likeness, etc.). Through painting and drawing, we'll consider the portrait as a traditional and contemporary art form, from perceptual to conceptual to political. Questions to consider: What is a portrait today? Is it likeness? Character? Caricature? An individual presence? Must it even be figurative? We'll look at and learn from a broad range of work, from ancient to contemporary, via lectures and museum visits, including the AIC Prints and Drawings viewing room. We'll discuss hundreds of artists from prehistoric to Renaissance to modernist to contemporary--as varied as Kathe Kollwitz, Ana Mendieta, Felix Gonzalez-Torres and Nathaniel Mary Quinn. Readings and related materials are suggested when relevant (articles, interviews, Ted Talks, etc.) The first 1/3 of the course covers basic skill sets: head structure, color organization, etc. We then move into independent projects. There are regular outside assignments.
PrerequisitesPrerequisite: PTDW 3030. |
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Credits |
DepartmentLocation |
| Stitch-by-Stitch: Feminism as Practice | 3032 (001) | Aram Han Sifuentes | Tues
8:30 AM - 11:15 AM In Person |
Description
This interdisciplinary course considers the topic of craft practices and the therapeutic through the lens of feminist pedagogy, including theories of touch and interembodiment. Students will examine the critical role craft and the domestic arts have played in raising questions surrounding feminism, gender, and labor practices in everyday histories. The course examines local and international projects centering on memory, trauma and collaboration. The class will explore the ethics of community collaborations and how the practice of making can cultivate a sense of community, well-being, and social capital.
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| Capturing Time: The Intersection of the Cinematic and Photographic Image | 3032 (001) | Monika Niwelinska | Tues
6:45 PM - 9:30 PM All Online |
Description
Capturing Time is an online course that allows students to explore the close connections, similarities, and differences historically associated with cinematic and photographic images. The reading, screening, and research component of the class will delve into the specific historical, theoretical, and artistic practices, as well as a technique associated with still and moving images. The studio component is designed to ignite your creativity, encouraging you to experiment, develop skills in diverse mediums, and attempt to challenge the historically separated boundaries of moving and still imagery through class readings and screenings, a research presentation, and a final project. Course assignments will include readings from cinematic and photographic historians, theorists, and contemporary artists. Class readings will include essays by Walter Benjamin, Roland Barthes, Tom Gunning, Rosalind Krauss, and Rebecca Solnit. In addition to the weekly class readings, class screenings and presentations are assigned each week to supplement and support the texts. They will include cinema, photography, and multimedia installations from Chantal Akerman, Jim Campbell, John Cage, Maya Deren, Omer Fast, Hollis Frampton, Mona Hatum, the Lumiere Brothers, Christian Marclay, Man Ray, Chris Marker, Steve McQueen, Dwayne Michaels, Tsai Ming-Liang, Eadweard Muybridge, Tony Oursler, Pipilotti Rist, Hiroshi Sugimoto, Andrei Tarkovsky, Bill Viola, Andy Warhol, Gillian Wearing and more. The online course structure will provide three tiers of interaction: student to instructor, student to student, and student to content. The primary focus of the class relies on weekly assignment-based projects, peer-to-peer feedback, and self-paced visual material that will provide examples of photographic, cinematic, and interdisciplinary artists working with digital Media in various modes of production and presentation. Historical and contemporary readings and screenings provide a conceptual framework for the course work, including weekly reading responses in an online journal, short visual exercises, a research presentation on a specific artist, and a final project. Students are expected to produce substantial photographic and moving image work. *To complete this online course, a successful student will need access to a computer, an internet connection fast enough for streaming moving image material, and a camera capable of producing still and moving images (anything between a DSLR or Mirrorless camera and a mobile phone.)
PrerequisitesPrerequisite: PHOTO 1001. |
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Credits |
DepartmentArea of StudyLocation |
| Alterfutures Studio | 3032 (001) | Jessica Charlesworth | Mon
9:00 AM - 3:00 PM In Person |
Description
AlterFutures Studio is a studio course in which students question received expectations about ‘the future’ and use design, writing and visualization methods to propose compelling alternatives. The course will allow students to think through, articulate, and bring to life, critical and provocative narratives for alternative futures. By studying the tools and approaches of speculative and critical design, and design fiction, alongside literary and cinematic forms of futuring, the course builds awareness in, and enables practice of, contemporary techniques used to communicate alternative futures. AlterFutures Studio will be made up of three projects to be presented in a culminating course critique with complimentary readings and discussions each focusing on a particular subject matter and approach relating to emerging technologies and potential impacts on society and culture. The works of designers and artists Dunne & Raby, Superflux, Atelier Van Lieshout, and Lucy Orta, Noam Toran, Extrapolation Factory, and Cohen Van Balen will act as primary points of reference for our explorations in this course. Students will create physical prototypes and use VR tools to develop artifacts and worlds that express their ideas.
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| Advanced Costume Design for Film and TV | 3033 (001) | Bambi Deidre Breakstone | Fri
9:00 AM - 3:00 PM In Person |
Description
Costume design is a complex art form that requires in-depth understanding of the cultural implications of dress. The purpose of this class is to further develop the artistic and practical aspects of designing costumes, building on previous skills learned in Costume Design for Film and TV. This advanced class is for serious costume design students and will help them gain the necessary skills to find work in a professional costume department. This advanced class would give students the opportunity to delve more deeply into creating characters through script analysis and both primary and secondary research about each character to establish personality though costume. Additionally, this class would teach students practical methods of manipulating fabric to create futuristic as well as historically accurate fabric for their costume designs. Readings and screenings will vary but will include readings from the following texts; Deborah Nadoolman Landis, Filmcraft: Costume Design, Focal Press, 2012, Rosemary Ingham, Costume Designer's Handbook: A Complete Guide for Amateur and Professional Costume Designers, Prentice-Hall Books, 1983, Tan Huaixiang, Character Costume Figure Drawing, Routledge, 2018, Deborah Dryden, Fabric Painting and Dyeing for the Theatre, Heinemann Drama, 1993. *Readings chosen from The Costume Designer magazine and the Costume Designers Guild website articles And screenings of scenes from historic and futuristic films including but not limited to: Metropolis (1927), Blade Runner (1982), Dr. Strange (2016), A Boy and His Dog (1975), The Favorite (2018), Chariots of Fire (1981), and The Clockwork Orange (1971).
PrerequisitesStudent must have completed either FASH 2032 or FASH 2002 |
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Credits |
DepartmentArea of StudyLocation |
| Visualization and Storyboarding | 3033 (001) | Shelley Lynn Dodson | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed. A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound.
PrerequisitesPrerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020 |
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Credits |
DepartmentLocation |
| Visualization and Storyboarding | 3033 (002) | James Trainor | Mon
9:00 AM - 3:00 PM In Person |
Description
This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed. A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound.
PrerequisitesPrerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020 |
Class Number |
Credits |
DepartmentLocation |
| The Hook: Anatomy of a Comic Book Cover | 3034 (001) | Dijana Granov | Wed
9:00 AM - 3:00 PM In Person |
Description
First impressions are everything when it comes to comic books. The goal of this course is to understand, and create comic book covers with confidence and understanding of one's audience. The class is divided into five distinct projects, studying and creating different types of covers, from single figure dominance to wrap around covers with multiple figures and full backgrounds. A variety of media are explored and used to finish the covers.
PrerequisitesPrerequisite: FASH 2007 |
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Credits |
DepartmentArea of StudyLocation |
| Multiples Studio | 3034 (001) | Jess Giffin | Wed
9:00 AM - 3:00 PM In Person |
Description
This interdisciplinary studio class investigates the intersection of printmedia, artists? multiples and packaging as an entry point into making and thinking about multiples as a format for studio production. The history of artists? multiples (loosely defined as small-scale editioned or multiply produced three-dimensional works) includes many examples that use, or appropriate, printed elements and packaging in some way. This history, along with our daily experience of packaging (the many boxes, folders, labels, pamphlets, flyers and cartons found in nearly every aspect of contemporary life) offers a wealth of connections to consider and work from. Students will be introduced to a range of printing and paper construction techniques within the Printmedia studio. These include plate-based lithography (with hand-drawn, digital and photo options) and pattern layout for packaging along with other selected tools and techniques. In addition, students will have the opportunity to use SAIC labs such as the Service Bureau and digital fabrication centers. Examples, short readings, and a visit to the Joan Flasch or other related collections will support project development and discussion. Students can expect to complete three to five projects and participate in two critiques.
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Credits |
DepartmentArea of StudyLocation |
| Multiples Studio | 3034 (001) | Jess Giffin | Wed
9:00 AM - 3:00 PM In Person |
Description
This interdisciplinary studio class investigates the intersection of printmedia, artists? multiples and packaging as an entry point into making and thinking about multiples as a format for studio production. The history of artists? multiples (loosely defined as small-scale editioned or multiply produced three-dimensional works) includes many examples that use, or appropriate, printed elements and packaging in some way. This history, along with our daily experience of packaging (the many boxes, folders, labels, pamphlets, flyers and cartons found in nearly every aspect of contemporary life) offers a wealth of connections to consider and work from. Students will be introduced to a range of printing and paper construction techniques within the Printmedia studio. These include plate-based lithography (with hand-drawn, digital and photo options) and pattern layout for packaging along with other selected tools and techniques. In addition, students will have the opportunity to use SAIC labs such as the Service Bureau and digital fabrication centers. Examples, short readings, and a visit to the Joan Flasch or other related collections will support project development and discussion. Students can expect to complete three to five projects and participate in two critiques.
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Credits |
DepartmentArea of StudyLocation |
| Computer Imaging for Fashion Design | 3035 (001) | Donald Yoshida | Mon
9:00 AM - 3:00 PM In Person |
Description
In this class students learn necessary computer tools to enhance their fashion designs. This class gives students an additional medium to push and refine their designs; additionally, it prepares students for industry work. Students learn on an Adobe platform, which offers in-depth tools for 2D design. Knowledge of the basic Adobe tools enables students to transition into other illustrating platforms they may encounter in the future. Projects include translating hand-drawn designs into computer drawings, creating full designs on the computer, scanning and masking prints, creating prints, creating lay-out, presentation, flat drawing, and more.
PrerequisitesStudent must have completed any 2000 Level FASH course |
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Credits |
DepartmentArea of StudyLocation |
| Top: Rethink, Reuse and Recycle Ceramics | 3035 (001) | Tues
9:00 AM - 3:00 PM In Person |
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Description
The characteristics and implications of clay in all its states-dry, plastic, readymade, and so on-are explored in an advanced conceptual context. This course examines the subjective role of materiality. Expanding the language of clay, and the approaches to it via nonconventional methods of manufacture and installation, the involvement of recycling/ repurposing found ceramic objects and material will be the intent of the class. Some of the artist we will be looking at are Breanda Tang, Phoebe Cummings, Morel Doucet, Caroline Slotte, Magdolene Dykstra and Kjell Rylander
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| 3D Character Animation | 3036 (001) | Nick Flaherty | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, students will use 3D software to animate characters for narrative and non narrative films. Lectures and discussions will focus on both traditional and less-than-traditional 3D character pipeline with a strong emphasis on Character and Acting. Screenings will include a variety of films utilizing 3D character and puppet animation, especially those with exceptional use of personality and performance. Filmmakers screened include: Aaron and Amanda Kopp; Géraldine Gaston; Nikita Diakur. After a brief introduction to the fundamentals of the software (Maya), students will work on multiple short projects designed to develop skills as 3D character animators including those pushing strong animation mechanics and dialogue. These early animations will be critiqued rigorously. Projects will engage students as animators and actors, and will include a final project that focuses on creating engaging animation for a longer piece.
PrerequisitesPrerequisite: FVNM 2015 |
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Credits |
DepartmentArea of StudyLocation |
| Sculptural Basket Weaving | 3037 (001) | Kate Smith | Wed
9:00 AM - 3:00 PM In Person |
Description
In this studio course students will explore basket weaving techniques and their interconnectedness to the history and traditions of the craft. The class will utilize both traditional and non-traditional methods and materials to investigate new ways of creative expression while carrying the long, multi-cultural basket weaving tradition. Readings may include Revered Vessels: Custom and Innovation in Harari Basketry and Hybrid Basketry: Interweaving Digital Practice within Contemporary Craft. Students will be introduced to Native North American basket weaving and the ancient baskets of both Egypt and Israel to bring an understanding of the contemporary craft through its historical origins. Artists such as Hayakawa Shokosai, the Campana Brothers, and Ruth Asawa will be a point of reference for the class as a way to connect their own conceptual framework to this traditionally utilitarian craft. Students should expect to produce a variety of technique-based samples as well as a midterm and a final culminating project. This course requires an artist presentation and assigned readings. Students will reflect on the readings with written responses to connect contemporary works with historical craft.
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| Performing Objects | 3039 (001) | Jefferson Pinder | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course explores the 'performing object' in contemporary, avant-garde, and traditional sculpture, installation, performance, and theater. Through experimentation and critical discussion, issues specific to performance art, puppetry, mask and street theater are probed, including: material, movement, sound, text, spectacle, scale, environment, and relationships among performer, puppet, and audience. In addition to in-class exercises, students build and perform a newly conceived, object-based performance piece.
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| Introduction to Computer Vision | 3039 (001) | Douglas Rosman | Wed
9:00 AM - 3:00 PM In Person |
Description
Computer vision allows machines to see and understand their environment. This course will equip students with the practical skills and critical theory needed to both employ and critically engage these techniques. Real-time body tracking, facial recognition and gesture analysis using RGB+D and LiDAR sensors, artificial intelligence and machine learning will be emphasized. Students will explore and critique contemporary applications ranging from automated mass surveillance to interactive installations. A final project will build on in-class workshops, technical exercises, critical readings and discussions.
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| Screen: Reprod/Represent | 3040 (001) | Peter Power | Mon
9:00 AM - 3:00 PM In Person |
Description
Students will be asked to respond through screenprinted work in a variety of formats, to art works, of their choice, in the museum collection. Reproductions of, re-representation of and re-evaluation of known works will encourage students to critically engage the museums collection while developing their own studio vocabulary and technical abilities.
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| Deep Risography | 3042 (001) | Conor Stechschulte | Mon
9:00 AM - 3:00 PM In Person |
Description
In the last twenty years, the Risograph machine has become a powerful tool in the hands of artists and self-publishers. Students in this course will learn advanced methods of printing, spot color layering and color-separation along with becoming immersed in the rich global culture of RIsograph printing and publishing. The class will consist of demonstrations, lectures and presentations on current Risograph practitioners, visits with artists and publishers, trips to school collections and the prodigious production of strange and beautiful printed objects. Lectures and readings may include the work of artists Sigrid Calon, Lale Westvind, Joe Kessler, and the publishers Colorama, Perfectly Acceptable, Colour Code, The Charles Nypels Lab, Animal Press, Tan and Loose, and others. Students will be expected to produce 3-4 projects demonstrating technical proficiency and contextual grounding. These projects will be refined during regular one-on-one meetings and discussed in three group critiques. The course will culminate in a show of student work.
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| Site/Environment/Communities | 3044 (001) | Juan Angel Chavez | Fri
9:00 AM - 3:00 PM In Person |
Description
This course will examine strategies for working on site, gaining an understanding of the complex intersection of the social, cultural, built, and natural environment that is so essential to the creation of artist's interventions, independently or in collaboration with others, in and out of the art world. Working individually and in groups, students will conduct research, critically and creatively analyze site, identify opportunities and issues, and develop and present project proposals. The specifics of location, materials, communities, participants, partnering institutions, funding and facilitation will be identified throughout this process. This course provides pragmatic preparation for actually undertaking projects outside of the studio.
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| Lithography: Expanded Practice | 3044 (001) | Brian Joseph Rush | Fri
9:00 AM - 3:00 PM In Person |
Description
This intermediate studio will explore Lithography as an expanded practice for creating fine art prints that are both innovative and experimental. The course will focus on both individual and collaborative projects to expand the notions and practice of traditional lithography by combining it with other artistic practices. Students will be introduced with advanced printing processes including multi-color printing using stone and aluminum plate, photo and wood lithography, and monotype/monoprints. Use of laser and vinyl cutters to combine with traditional lithography will also be explored.
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| Interface and Structure: Web Design | 3045 (001) | Mark Stammers | Thurs
9:00 AM - 3:00 PM In Person |
Description
HTML defines the structure of a web page, while CSS lends style by controlling the presentation of elements. This online course caters to students with little or no prior coding experience. Through hands-on coding modules, students will use a text editing program to acquire proficiency in standards-compliant HTML and CSS. A strong emphasis on redundancy will ensure that coding concepts are fully understood and best practices reinforced. Students will undertake research, design, and coding tasks to create a fully functional, responsive website. With a solid understanding of HTML and CSS, students will explore opportunities to develop dynamic web pages that adapt seamlessly to different devices and screen sizes. Additionally, students will investigate interface possibilities, evaluate site navigation opportunities, and analyze the effectiveness of various page structures in communicating information effectively and efficiently. There are no prerequisites for this course.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
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| Hacking the Object | 3045 (001) | Joseph Michael Kramer | Fri
9:00 AM - 3:00 PM In Person |
Description
DIY has become a widespread movement in the artistic community. Modifying, tinkering, tweaking and downright hijacking have become a commonplace practice among today?s artists. Many everyday electronic objects are yearning to be liberated from their banal existences. This course explores readily available materials with a goal of bringing out the hidden aesthetic potentials of electronic devices. Students dig beneath the shiny surfaces to uncover underlying workings, principles and mechanisms. Class projects result in new artworks by reanimating the physical presences and behaviors of the reassembled artifact.
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| Shaping Light | 3048 (001) | Gregory Mowery | Fri
9:00 AM - 3:00 PM In Person |
Description
Light is a material that can be shaped to express ideas, create experiences and increase the communicative potential of objects and spaces. Through a combination of lectures, demos, fields trips and most of all, hands-on lab work, students develop a degree of self sufficiency in the design, construction and prototyping of illuminated objects, physical graphics and environmental lighting. Students learn basic electronic and electrical circuit design, lamp specification and experiment with illumination technologies including incandescent, LED and cold cathode (neon).
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Shaping Light | 3048 (001) | Gregory Mowery | Fri
9:00 AM - 3:00 PM In Person |
Description
Light is a material that can be shaped to express ideas, create experiences and increase the communicative potential of objects and spaces. Through a combination of lectures, demos, fields trips and most of all, hands-on lab work, students develop a degree of self sufficiency in the design, construction and prototyping of illuminated objects, physical graphics and environmental lighting. Students learn basic electronic and electrical circuit design, lamp specification and experiment with illumination technologies including incandescent, LED and cold cathode (neon).
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mat & Tech: Deep Surface | 3049 (001) | Josh Dihle | Mon
9:00 AM - 3:00 PM In Person |
Description
In this materially-oriented multi-level studio course, students will expose the possibilities beneath, within, and above the painting surface. Students will learn both archival and experimental strategies for making work that upset distinctions between image and object. Through demonstrations and open-ended assignments, students will learn impasto painting techniques, adhesives, relief carving, embedding, shaped supports, and alternative materials. Deep Surface will give students the opportunity to explore juicy facture, heavy-duty mediums, extraction tools, image excavation, and extravagant adornment. Together, we will narrow the gap between painting and sculpture. In support of these efforts, course readings will include Freud, Krauss, Gottsegen, Kelley, and Gingeras. Readings and discussions will be accompanied by field trips and lectures. We will look at artwork hailing from a wide swath of histories and world cultures, including 20th Century African American folk art, ancient Greek and Mesopotamian relief carving, Medieval and early Renaissance painting, and a range of contemporary painting-sculpture hybrid practices.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Drawing Materials & Techniques | 3049 (002) | Richard Deutsch | Tues
9:00 AM - 3:00 PM In Person |
Description
This course examines the relationship of specific media and techniques to the content and activity of drawing. Studio work is complemented by study of works on paper in the collection of the Art Institute of Chicago.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Materials and Techniques I | 3050 (001) | Jaclyn Gaye Mednicov | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Materials and Techniques I | 3050 (002) | Richard Deutsch | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Materials and Techniques II | 3051 (001) | Frank Piatek | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is the second part of a two-semester sequence. The first semester presents the full array of materials used in painting with an introduction to some study of methods of construction. This course puts those materials to use and carries forward the study of methods and strategies of construction, beginning with Flemish and Venetian painters and carrying through late twentieth-century painting. The subject of painting is studied from the viewpoint of the language of material and process.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Programming for Sound: Synthesis | 3051 (001) | Shawn Decker | Thurs
8:30 AM - 11:15 AM In Person |
Description
This online version of The Programming Sound class will feature an introduction to various synthesis methods, tracing the history of sound synthesis, starting with traditional analog synthesis techniques and methodologies, and then moving to a history of digital sound synthesis techniques. The class will review the histories surrounding sound synthesis, and students will learn various software and hardware techniques and pursue a number of creative projects. These projects will retrace the development of these important techniques and their aesthetic and compositional potential in a series of smaller creative projects, concluding with a more substantial final project. The class will make use of various software including Max/MSP as well as Ableton Live, and will feature various software synthesis plugins that will allow students to engage with the various techniques being discussed. Students are required to have a laptop that can run Max/Msp and Ableton Live, and a good set of headphones or a stereo monitoring system. Software licenses will be supplied to students who need them.
PrerequisitesPrerequisite: SOUND 2001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Moldmaking: Replication and Translation | 3057 (001) | Stephen Reber | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who have prior moldmaking and casting experience. Students investigate in-depth project development, implementing and articulating ideas through class discussions and proposals. This course also aims to offer a deeper understanding of the social, historical, and aesthetic implications of replication. Such subjects as the instability and significance of object/material relationships, and the complex and expansive nature between the authentic, the surrogate, and the copy are explored.
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Class Number |
Credits |
DepartmentLocation |
| Art and the Spiritual | 3060 (001) | Frank Piatek | Thurs
9:00 AM - 3:00 PM In Person |
Description
This is a studio course with accompanying lectures working from a basis in the sacred, spiritual, and visionary traditions of art making. Its purpose is to assist and facilitate the students' encounters and explorations of these forms, whether representational or abstract, and to discuss the work created. This course consists of studio work, lectures, visiting artists, students' readings, visual research, journal work, and a final presentation.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Twist and Rout | 3060 (001) | Paul Martin | Fri
9:00 AM - 3:00 PM In Person |
Description
The history and techniques of bending and shaping wood are explored, from the stage coach wheel to the sculptures of Martin Puryear, from the cambered truss to the violin. Projects include a variety of practices such as laminate bending, form fashioning, steam bending, and vacuum pressing.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Virtual Flat to Form - Digital Patternmaking | 3060 (001) | Aubrie J. Meyer | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course introduces students to digital pattern-making for fashion. Students learn to use the CAD hardware and software, designing and modifying patterns virtually. This includes digitizing/converting hard patterns to digital files, modifying existing stock patterns, textile printing, 3-D visualization, and plotting sample patterns. Students receive a hands-on approach to developing virtual patterns through fabric testing, using body measurements, and assembling prototypes for final design approval. Other industry skills are developed, such as creating pattern cards, cutter's musts, grading, and marker making.
PrerequisitesFASH 2001/2014/2016/2020/2022/2024/2901 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| CNC Fabrication Techniques | 3060 (001) | Luis Rodriguez Rosario | Sat
10:00 AM - 4:00 PM In Person |
Description
Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable students' ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino is our primary interface for CNC output and RhinoCam is utilized for tool-path generation. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. Current industrial applications of CNC production will be discussed as well as other resources that can be utilized in conjunction with the CNC mill. The beginning exercises introduce students to the various milling types. Later projects allow the exploration of form development through prototyping. A final project incorporates the CNC mill into student's working practice.
PrerequisitesPrerequisite: DES OB 2124 or DES OB 2126 or AIA 3917 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Technical Studies:Glaze | 3061 (001) | Mie Kongo | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 11:15 AM In Person |
Description
This technical studies course will explore glaze materials, the geology of ceramic materials, ceramic chemistry, glaze and clay body formulation, glaze colors, the function of heat, firing atmosphere, and glaze characteristics, behaviors and defects. The spectrum of raw ceramic materials become familiar to students through weekly lectures and discussions, numerous experimental glaze material tests and data recording and analysis. Students will learn how to safely use and exploit a wide variety of ceramic materials in order to develop a broader understanding of applications for personal expression. We will explore a wide range of glaze formulations while building a comprehensive foundation for understanding how materials can be used and formulated to yield specific and reproducible results. At the conclusion of this course, each individual will have the tools to precisely test and produce glaze formulations, understand how to use the various tools present in the glaze lab, and the ability to interpret written and fired formulae results. This class is designed as a half lecture and half lab course. Course work includes weekly reading, 10 glaze test assignments, mid-term and final quizzes and final critique.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Metalworks | 3063 (001) | Dan Price | Mon
9:00 AM - 3:00 PM In Person |
Description
Metalworks is a let’s-get-to-basics class for working with steel. Join the class to learn basic metal fabrication, including: cutting, forming, forging, welding and finishing. This class will guide you as you build your projects in steel. You’ll learn about structural systems and histories relevant to art and design with an emphasis on techniques and methodologies relevant to metalwork. You will integrate your learning to produce a set of finished works using historic and contemporary technologies. If it’s metal, It’s here. Designing, Fabricating, Forging, Finishing. Make it in metal.
PrerequisitesPrerequisite: SCULP 1101 or SCULP 2001 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Performing Identities | 3070 (001) | Sungjae Lee | Thurs
3:30 PM - 9:15 PM In Person |
Description
The slogan “the personal is political” sounds obvious today. Artworks rooted in diverse identities, cultures, and stories have been actively produced, and some have received global attention. Theresa Hak Kyung Cha, Ana Mendieta, and contemporary auto-fiction writers such as Ocean Vuong, Brontez Purnell, and Saeed Jones. It's empowering yet confusing since they are mostly sad, tragic, and heartbreaking. Should our lived experiences be traumatic since they are sellable? What is the less exploitative way to materialize our bodies and narratives in art practices? How can we talk about joy and happiness when we haven't learned culturally? In this course, we will investigate the power of identities and personal narratives, and safe ways of sharing them in art, with the aim of acknowledgment, grief, healing, and eventually celebration. This multidisciplinary course explores the wide spectrum of identities and autobiographical stories in visual art, literature, pop culture, and social media. Anchored on the conversation on how their identities and narratives have been consumed in the market, we will research how to process, reframe, and visualize our pain in order to picture a better future--referencing José Esteban Muñoz’s queer futurity. Local artists and curators will visit the class and share their experiences of materializing stories for artworks or exhibitions. Along with assignments such as readings and research writings, students develop, produce, and present their live performance pieces as midterm and final projects.
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Class Number |
Credits |
DepartmentLocation |
| Lighting & Cinematography | 3070 (001) | Meredith Zielke | Tues
9:00 AM - 3:00 PM In Person |
Description
This is an intensive studio course for advanced students of film/video to explore the creative uses of light in their projects. Through the examination of cinematographic approaches across the various genres including narrative, experimental, and documentary, students apply advanced techniques of lighting and composition to their work. Emphasis is placed on the changing role of the cinematographer in the world of digital media.
PrerequisitesPrerequisite: FVNM 2004 & FVNM 2005 or FVNM 3003 or FVNM 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Alternative Image Capture | 3075 (001) | William Harper | Fri
9:00 AM - 3:00 PM In Person |
Description
Alternative Image Capture investigates emerging imaging technology. AI image making and animation, 3D Camera, monitor and projection systems, action cameras, trail cams, IP equipped video, smart phone, infrared, thermal, and DSLR cameras will be used to collect primary images, video and audio material. Further exploration will include methods of processing and distribution of still and animated imagery. The ultimate shape of the course will be informed by breaking technology and the interests of the students in the class.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Permanence and Ephemerality | 3076 (001) | Stephanie Brooks | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course explores the multiplicity of meanings inherent in the objectness of sculpture practices. Our weekly classes address such issues as monuments, earthworks, and performance; history and temporality; materiality and dematerialization; research, manufacturing, and consumption; tensions and connections between sculpture, architecture, and designed objects; and the ways new media, especially the internet and other virtual sites, alter our notions of the permanent and the ephemeral. Each week we'll discuss readings from contemporary and art historical texts and critique student work. Students will be given assignments and projects to be completed and critiqued throughout the semester.
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Class Number |
Credits |
DepartmentLocation |
| Sculpture: Multi-Level Projects | 3085 (001) | Lindsey Dorr-Niro | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course provides students with a semester-long concentration on a sculptural project of their own choosing. Students are encouraged to focus on a cohesive body of work that shares a material or conceptual framework. Multiple individual critiques will enhance their ability to identify, develop and clearly express their artistic intentions. Image and video presentations will expand students' familiarity with a range of sculpture practices. Individual research methodologies are emphasized and structured to take advantage of the institution's resources. Class discussion of contemporary sculpture and theory will underscore students? understanding of the social production of meaning and help them to contextualize their work.
PrerequisitesPrerequisite: SCULP 1101 or SCULP 2001 |
Class Number |
Credits |
DepartmentLocation |
| Synthetic Futures: Biodesign Challenge | 3090 (001) | Andrew H. Scarpelli | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will work in collaborative teams to produce projects to enter the first annual Biodesign Challenge, a competition to envision the future of synthetic biology. Synthetic biology is the design and construction of life itself; the engineering of living organisms as biological machines. The field consists of scientists, industries, artists, and citizens using known fundamentals governing how biology works on a submicro-level in order to create meaningful alterations to how life functions. This hybrid studio/science course will introduce students to the theory and techniques of microbial genetic engineering while placing it in a larger cultural, ethical and artistic context. Students will learn and explore the basics of biology of all living organisms with an emphasis on single celled organisms, supported by lab work with bacterial cultures, DNA extraction and manipulation, polymerase chain reaction and gel electrophoresis. Fluency with these lab techniques will enable critical consideration of research and experimentation in biological science and in art and design. Studio projects will focus on designing systems and experiments to utilize this technology conceptually and creatively. The course will culminate in a design summit in New York City, an exhibition of winning projects, and a publication in print and online.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ghost in the Chamber: Surrealism and Photography | 3098 (01S) | Kate O'Neill, Jeremy Biles | Fri
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary studio symposium course introduces students to key principles and practices of surrealism with particular focus on theories of photography and strategies of photographic image-making. Treating surrealism not only as an art-historical moment but a living body of attitudes, theories, and possibilities for thinking, art-making, and action, students will develop their own ideas and a body of work in formulating a surrealist praxis. Students will read texts by and about surrealists/surrealism, querying into the poetics, politics, and possibilities of photographic surrealism. The class will treat ideas including: erotic desire, pleasure, gender, chance, dreams/unconscious, walking, play/games, politics, race, anticolonial thought, freedom. Students will study work by surrealist thinkers including Andre Breton, Louis Aragon, Aime Cesaire, Georges Bataille, Maya Deren, and Claude Cahun; modern surrealist potes including Juliana Huxtable and Billy-Ray Belcourt; and contemporary theorists such as Rosalind Kruass, Susan Laxton, Angela Carter, and Tina Campt. Artists of special focus will include: Hans Bellmer, Claude Cahun, Lee Miller, Dora Maar, Man Ray, Jacques-Andre Boiffard, Pierre Molinier, Maya Deren, John Akomfrah, and Aruther Jafa. Students will also engage contemporary Afrosurrealism based in photography and film, e.g. Beyonce's ?Lemonade,' Donald Glover's ?Atlanta,' Boots Riley's 'Sorry to Bother You,' and Jordan Peele's ?Get Out.? Students write two short analytic essays and a cumlinating research essay synthesizing ideas from across the semester. Students will also engage in generative photographic exercises designed to break habitual attitudes toward seeing and staging, as they build a focused body of personal work. Research, writing, and studio practice unfold in conjunction with one another, providing students with a working model for synthesizing art history and theory, political engagement, and making.
PrerequisitesStudio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ghost in the Chamber: Surrealism and Photography | 3098 (01S) | Kate O'Neill, Jeremy Biles | Fri
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary studio symposium course introduces students to key principles and practices of surrealism with particular focus on theories of photography and strategies of photographic image-making. Treating surrealism not only as an art-historical moment but a living body of attitudes, theories, and possibilities for thinking, art-making, and action, students will develop their own ideas and a body of work in formulating a surrealist praxis. Students will read texts by and about surrealists/surrealism, querying into the poetics, politics, and possibilities of photographic surrealism. The class will treat ideas including: erotic desire, pleasure, gender, chance, dreams/unconscious, walking, play/games, politics, race, anticolonial thought, freedom. Students will study work by surrealist thinkers including Andre Breton, Louis Aragon, Aime Cesaire, Georges Bataille, Maya Deren, and Claude Cahun; modern surrealist potes including Juliana Huxtable and Billy-Ray Belcourt; and contemporary theorists such as Rosalind Kruass, Susan Laxton, Angela Carter, and Tina Campt. Artists of special focus will include: Hans Bellmer, Claude Cahun, Lee Miller, Dora Maar, Man Ray, Jacques-Andre Boiffard, Pierre Molinier, Maya Deren, John Akomfrah, and Aruther Jafa. Students will also engage contemporary Afrosurrealism based in photography and film, e.g. Beyonce's ?Lemonade,' Donald Glover's ?Atlanta,' Boots Riley's 'Sorry to Bother You,' and Jordan Peele's ?Get Out.? Students write two short analytic essays and a cumlinating research essay synthesizing ideas from across the semester. Students will also engage in generative photographic exercises designed to break habitual attitudes toward seeing and staging, as they build a focused body of personal work. Research, writing, and studio practice unfold in conjunction with one another, providing students with a working model for synthesizing art history and theory, political engagement, and making.
PrerequisitesStudio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ghost in the Chamber: Surrealism and Photography | 3098 (01S) | Kate O'Neill, Jeremy Biles | Fri
9:00 AM - 11:15 AM In Person |
Description
This interdisciplinary studio symposium course introduces students to key principles and practices of surrealism with particular focus on theories of photography and strategies of photographic image-making. Treating surrealism not only as an art-historical moment but a living body of attitudes, theories, and possibilities for thinking, art-making, and action, students will develop their own ideas and a body of work in formulating a surrealist praxis. Students will read texts by and about surrealists/surrealism, querying into the poetics, politics, and possibilities of photographic surrealism. The class will treat ideas including: erotic desire, pleasure, gender, chance, dreams/unconscious, walking, play/games, politics, race, anticolonial thought, freedom. Students will study work by surrealist thinkers including Andre Breton, Louis Aragon, Aime Cesaire, Georges Bataille, Maya Deren, and Claude Cahun; modern surrealist potes including Juliana Huxtable and Billy-Ray Belcourt; and contemporary theorists such as Rosalind Kruass, Susan Laxton, Angela Carter, and Tina Campt. Artists of special focus will include: Hans Bellmer, Claude Cahun, Lee Miller, Dora Maar, Man Ray, Jacques-Andre Boiffard, Pierre Molinier, Maya Deren, John Akomfrah, and Aruther Jafa. Students will also engage contemporary Afrosurrealism based in photography and film, e.g. Beyonce's ?Lemonade,' Donald Glover's ?Atlanta,' Boots Riley's 'Sorry to Bother You,' and Jordan Peele's ?Get Out.? Students write two short analytic essays and a cumlinating research essay synthesizing ideas from across the semester. Students will also engage in generative photographic exercises designed to break habitual attitudes toward seeing and staging, as they build a focused body of personal work. Research, writing, and studio practice unfold in conjunction with one another, providing students with a working model for synthesizing art history and theory, political engagement, and making.
PrerequisitesStudio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ghost in the Chamber: Surrealism and Photography | 3098 (01S) | Kate O'Neill, Jeremy Biles | Fri
9:00 AM - 11:15 AM In Person |
Description
This interdisciplinary studio symposium course introduces students to key principles and practices of surrealism with particular focus on theories of photography and strategies of photographic image-making. Treating surrealism not only as an art-historical moment but a living body of attitudes, theories, and possibilities for thinking, art-making, and action, students will develop their own ideas and a body of work in formulating a surrealist praxis. Students will read texts by and about surrealists/surrealism, querying into the poetics, politics, and possibilities of photographic surrealism. The class will treat ideas including: erotic desire, pleasure, gender, chance, dreams/unconscious, walking, play/games, politics, race, anticolonial thought, freedom. Students will study work by surrealist thinkers including Andre Breton, Louis Aragon, Aime Cesaire, Georges Bataille, Maya Deren, and Claude Cahun; modern surrealist potes including Juliana Huxtable and Billy-Ray Belcourt; and contemporary theorists such as Rosalind Kruass, Susan Laxton, Angela Carter, and Tina Campt. Artists of special focus will include: Hans Bellmer, Claude Cahun, Lee Miller, Dora Maar, Man Ray, Jacques-Andre Boiffard, Pierre Molinier, Maya Deren, John Akomfrah, and Aruther Jafa. Students will also engage contemporary Afrosurrealism based in photography and film, e.g. Beyonce's ?Lemonade,' Donald Glover's ?Atlanta,' Boots Riley's 'Sorry to Bother You,' and Jordan Peele's ?Get Out.? Students write two short analytic essays and a cumlinating research essay synthesizing ideas from across the semester. Students will also engage in generative photographic exercises designed to break habitual attitudes toward seeing and staging, as they build a focused body of personal work. Research, writing, and studio practice unfold in conjunction with one another, providing students with a working model for synthesizing art history and theory, political engagement, and making.
PrerequisitesStudio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Structuring Narrative & Building the Imagined World | 3104 (001) | Gitanjali Kapila | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course focuses on using the principles of narrative and narrative structure to explore worldbuilding as a method for creating platform-specific time-based media. Students will engage a variety of writings in order to apprehend the theoretical tools necessary for 1) understanding narrative as a controlled and mediated communication between writer and viewer; 2) apprehending the critical role of designed spaces and narrative mapping in creating imagined worlds; 3) interrogating the ways in which media technologies and delivery systems inform the centering of different narrative perspectives; 4) exploring the process of activating narrative content in the imagined world for platform-specific media. The works of Sophocles, Aristotle, and Joseph Campbell will provide a coordinated theoretical framework for course content. Over the course of the semester students should expect to produce an “imagined world” which has undergone at least 5-6 iterations based on course content. Students will also be expected to produce a screenplay, television pilot and bible, game bible or other platform-specific writing based on the world that the student builds.
PrerequisitesPrerequisite: FVNM 3024. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Cont Narr:Love Art/Hate Artist | 3105 (001) | Eileen Favorite | Thurs
8:30 AM - 11:15 AM In Person |
Description
How do the biographical details of an artist's life influence our attitude toward their work? Should an artist's politics?both personal and public?influence our aesthetic response to the artwork itself? Or does a work of art become its own entity, detached from its creator? Perhaps, as the deconstructionists advocate, a text or image only bears an accidental relationship to the author's conscious intentions, and thus the creator is superfluous to the work itself. In this class, we study the lives and works of such artists as Chester Himes, J.D. Salinger, Patricia Highsmith, and Sylvia Plath, to examine why we tolerate some behaviors and abhor others. By reviewing biographies, journals, films, and the primary text or artwork itself, we wrestle with the question, is it possible to love the art when you hate/disapprove of/dislike the life the artist led? Students will write shared discussion pieces, a 8-10-page research paper on an artist of their choice, and participate in team debates. CONTENT WARNING: The content and discussion in this course will necessarily sometimes engage with issues of human suffering. Much of it will be emotionally and intellectually challenging to engage with, including graphic or intense content that discusses or represents racism, mental illness, and sexual or physical violence.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Fashion Photography | 3105 (001) | Mayumi Lake, Donald Yoshida | Thurs
9:00 AM - 3:00 PM In Person |
Description
The objective of the proposed class is to give students the opportunity to understand the process of concept development, introduce pre-production, styling, set considerations, lighting, post production and how best to capture the essence of the fashion idea through photography. Garment silhouette, cut & construction, color and texture are considered to best convey the design idea through the most appropriate and effective photographic techniques. An editorial approach is used in the book to stimulate and communicate their fashion sense to the viewer and to tell a fashion story.
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Class Number |
Credits |
DepartmentLocation |
| Fashion Photography | 3105 (001) | Mayumi Lake, Donald Yoshida | Thurs
9:00 AM - 3:00 PM In Person |
Description
The objective of the proposed class is to give students the opportunity to understand the process of concept development, introduce pre-production, styling, set considerations, lighting, post production and how best to capture the essence of the fashion idea through photography. Garment silhouette, cut & construction, color and texture are considered to best convey the design idea through the most appropriate and effective photographic techniques. An editorial approach is used in the book to stimulate and communicate their fashion sense to the viewer and to tell a fashion story.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to 2D Computer Animation | 3105 (001) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
This course is an introduction to the concepts and processes utilized in the production of digital and analogue to digital 2-D animation. Students work especially with Photoshop and After Effects to develop projects. Complex compositing and layering are also explored in this class. Screenings vary but include primarily contemporary filmmakers / animators using tools covered in class, ranging from student films from other countries and institutions to professional and more commercial examples - all of which will be critiqued and discussed heavily each week. The first 7-8 weeks of class are spent creating ultra short animated films, along with a longer final project at the end of the semester.
PrerequisitesFVNM 2420 or 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Cont Narr: Asian American Lit | 3105 (002) | Suman Chhabra | Thurs
8:30 AM - 11:15 AM In Person |
Description
There are fantastic books by Asian American writers but often they are not taught in school, or part of pop culture, or included in the literary canon. Who decides which writers and books are worthy of reading? In this discussion based course, we will critically read, think, and write about texts by contemporary Asian American authors. We will analyze multiple factors that have influenced the creation of the texts and that are explored within them, such as race, diaspora, memory, family, politics, community, and identifying oneself and one’s artwork. The readings will be across genre: novels, poetry, non-fiction, and graphic novels. Readings often include works by Victoria Chang, Mira Jacob, Alexander Chee, Jenny Xie, Ocean Vuong, Ted Chiang, and Cathy Park Hong among others. We will freewrite, formulate conceptual questions for the readings, write responses, and compose 2 essays based on individual inquiry and analysis.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Masterworks:I Ching: The Classics of Change | 3110 (001) | Christian M Sheppard | Wed
8:30 AM - 11:15 AM In Person |
Description
A detailed, intensive study of a small number of recognized masterworks that have demonstrated their power outside of their own national and historical context. Recent examples: Dante's Divine Comedy, Dostoevsky's The Brothers Karamazov.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Masterworks:Raymond Carver | 3110 (002) | James McManus | Wed
12:15 PM - 3:00 PM In Person |
Description
Book: Where I?m Calling From, by Raymond Carver Students will read approximately one Raymond Carver story and/or poem a day. To receive credit, you must attend at least thirteen classes on time, do all the readings and written assignments, and participate in in-class discussions. You must write at least two 150-word essays and bring 25 typed copies to class. The final project will be an analytical essay, a poem, a very short story, or a visual work. Whichever genre you choose to work in, I encourage you to channel, imitate, or otherwise creatively respond to at least one of the published works.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Masterworks: Borges's Fictions | 3110 (003) | Zachary Tavlin | Wed
12:15 PM - 3:00 PM In Person |
Description
A detailed, intensive study of a small number of recognized masterworks that have demonstrated their power outside of their own national and historical context. Recent examples: Dante's Divine Comedy, Dostoevsky's The Brothers Karamazov.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| The Short Story | 3111 (001) | James McManus | Tues
3:30 PM - 6:15 PM In Person |
Description
While novels usually sell better, short stories and novellas often provide more intense reading experiences. Beginning with such masterpieces as 'The Dead' by James Joyce, the 20th and 21st centuries have been a golden age of short fiction. Students will read a selection of short stories and novellas from the last hundred years or so. Authors will include Alice Munro, Denis Johnson, Sandra Cisneros, Catherine Lacey, Raymond Carver, James Baldwin, Ernest Hemingway, ZZ Packer, Phil Klay, Annie Proulx, James Joyce, Carol Anshaw, Gabriel Garcia Marquez, Lorrie Moore, and Stuart Dybek. Students will write a series of very short papers, one of more substantial length, and participate in in-class discussions.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Letterpress Bookworks | 3111 (002) | Catherine Ruggie-Saunders | Fri
9:00 AM - 3:00 PM In Person |
Description
Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium?s boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. This course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects.
PrerequisitesPrerequisite: VISCOM 2011 or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Hybrid Objects | 3113 (001) | Andrew Hunter | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
This studio course explores the interconnected nature of our physical and digital realities and their implications as technical, physical, and conceptual tools for understanding and presenting spatial ideas. This course teaches students to integrate the digital and the analog through process demonstrations including 3D modeling, 3D scanning, digital visualization, 3D printing, CNC output, mold making, pattern making, as well as metal and wood fabrication. This course covers planar and spatial construction methodologies. This course engages themes of identity and place in sculpture and presents the idea that these concepts are expressed uniquely via this hybrid process. However, students in this course are free to choose the content of their own work. Practical application of technical demonstrations build on lectures and discussions considering works by Tauba Auerbach, Macarthur Freeman, The Long Now Foundation, Charles Ray, Spurse, Rokudenashiko (Megumi Igarashi), Amanda Williams, and Wim Delvoye among others. Students will work individually to create 3 artworks to be presented in a final critique. Students will share these artworks in-process in 2 or 3 informal critiques. Each student will also complete a short written research project.
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Credits |
DepartmentLocation |
| Foundry: Industrial Morphologies | 3115 (001) | Eric Fuertes | Wed
9:00 AM - 3:00 PM In Person |
Description
Advances in metallurgy and foundry practices provided the spark for the Industrial Revolution that transformed the world. In this intermediate level metal casting course, students explore how technological developments, material innovations, principles of mass production and distribution, and the mechanization of work have influenced the shape of contemporary social, economic, and political structures. While emphasis is placed on foundry techniques in this course, a variety of industrial materials and processes are explored including computer scanning, data manipulation and rapid-prototyping technologies. Students learn to access industrial services via the internet and off-campus field trips.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Things of Mathematics | 3117 (001) | Wed
6:45 PM - 9:30 PM In Person |
|
Description
The 'Things of Mathematics' are its tools. The purpose of this course is to analyze and build some of the things that have built mathematics. Tools such as the abacus, astrolabe, sextant, sector, slide rule, planimeter, and others were ancestors of the earliest computers, such as the difference engine and the differential analyzer, which were special-purpose and mechanical. In this course, we rediscover how mathematics was literally 'handled' by earlier people. The course content extends across traditional divisions in mathematics (arithmetic, algebra, geometry, trigonometry, calculus). It also compares systems of notation and calculation, incorporating perspectives on mathematical cognition from psychology and anthropology. The focus of this course is making as the means to engage with mathematical concepts. Standard textbook-type excerpts will be used to convey the needed mathematical background. There will also be readings to give historical context to each tool and related mathematical topic. In order to revisit fundamental mathematics in a rigorous way, we will examine, understand, and actually build devices such as those mentioned. The sharing of student work and experience gained in the making process will be a consistent component of this course. A main component of student work is the making of math tools via given instructions. There will also be in-class problem solving activities to gain math facility, and there will be weekly readings for background accompanied by short comprehension quizzes.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Furniture 1: Chair Studio | 3118 (001) | Erik Newman | Wed
9:00 AM - 3:00 PM In Person |
Description
This furniture studio will critically engage the chair as an archetype. Chairs have long been a fascination of designers as they require a developed understanding of structure, material, and form. Importantly, chairs represent the cultural mores of the time in which they are produced and are inextricably linked to larger systems of power, technology, and economy. This course will explore the chair as a fluid, dynamic furniture category that is in a reciprocal relationship with culture, technology, and politics and will emphasize a hands-on approach to design and production. Readings from art and design historians and critics including Galen Cranz, David Getsy, Richard Sennett, Glenn Adamson, and Alice Rawsthorn will be integral to an expansive conversation about the chair. Class readings and discussions will also help contextualize different approaches to construction and fabrication at different scales of production. A wide range of both contemporary and historical design precedents will be explored ranging from traditional Shaker Furniture to Wendell Castle, Faye Toogood, Max Lamb, Egg Collective, Jasper Morrison, and Scott Burton. By the end of this course, students should expect to have completed technical drawings and a series of detailed scale models.
PrerequisitesPrerequisite: Sophomore-level or above. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Post-Production | 3122 (001) | Kera MacKenzie | Fri
9:00 AM - 3:00 PM In Person |
Description
This course gives students the opportunity to comprehensively explore industry-standard devices in digital editing and visual effects, bringing to bear the power and versatility of nonlinear editing on their creative projects. The class offers advanced editing techniques including data management, sound mixing, visual effects, color correction, compression and output options. The course is structured around a series of technical lectures and hands-on workshops as well as discussions of theoretical texts and screenings of films specifically selected to address important issues in the post-production process. Students will be working on the post-production of a single self-directed project. Students should come prepared with some of their footage ready for editing at the beginning of the semester. Students must participate in a mid-term critique and end-of-semester critique. Students will also generate a press kit for their project.
PrerequisitesFVNM 2004 or FVNM 3003 or FVNM 5020 |
Class Number |
Credits |
DepartmentLocation |
| Digital Sound I | 3123 (001) | Allie n Steve Mullen | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is offered for those students interested in developing skills in the creation and application of digital audio. Using Apple's Logic software, students interested in exploring sound or music are introduced to audio manipulation techniques that allow them to create soundtracks, to record and produce songs or dance tracks, realize abstract sound pieces or manipulate sound for installations. Techniques of sound manipulation are introduced, including audio recording and editing, looping, and sound destruction. MIDI, drum programming, the use of software synthesis and basic music and composition techniques are addressed according to the needs of individual students. The class is structured to encourage the interaction of students with a wide range of technical ability in audio from beginners to advanced artists in the early stages of a professional practice.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Digital Sound I | 3123 (002) | William Harper | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is offered for those students interested in developing skills in the creation and application of digital audio. Using Apple's Logic software, students interested in exploring sound or music are introduced to audio manipulation techniques that allow them to create soundtracks, to record and produce songs or dance tracks, realize abstract sound pieces or manipulate sound for installations. Techniques of sound manipulation are introduced, including audio recording and editing, looping, and sound destruction. MIDI, drum programming, the use of software synthesis and basic music and composition techniques are addressed according to the needs of individual students. The class is structured to encourage the interaction of students with a wide range of technical ability in audio from beginners to advanced artists in the early stages of a professional practice.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Screenwriting | 3124 (001) | Gitanjali Kapila | Thurs
3:30 PM - 6:15 PM In Person |
Description
Intermediate Screenwriting expands upon the skills learned in Beginning Screenwriting while preparing certain students for the longer-form writing required in Advanced Screenwriting. The purpose of the course is to allow students to develop mid-length stand-alone screenplays, adaptations from short stories or pilots for television series, while paying special attention to the vital role that drafting plays in the development of a successful script. Since Intermediate Screenwriting is first and foremost a writing class, there will be no formal reading or viewing assignments. However, throughout the semester, the professor will suggest books and articles to read and films to watch, that should help further and develop the various ideas that students are wrestling with in their scripts. For example, a work such as Kieslowski's ''The Decalogue'' will be suggested for students looking to embrace a thematic approach to a series of short films. Students have the option of completing two drafts of a 60-page script or three drafts of a 30-45 page script. Completion of these drafts are required to pass the class
PrerequisitesPrerequisite: FVNM 3024. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Doing Democracy | 3125 (001) | Andres Luis Hernandez, Joshua Rios | Thurs, Thurs
12:15 PM - 3:00 PM, 12:15 PM - 3:00 PM In Person |
Description
What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment—recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision.
PrerequisitesPrerequisite: Open to junior BFAAE students only or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Doing Democracy | 3125 (001) | Andres Luis Hernandez, Joshua Rios | Thurs, Thurs
12:15 PM - 3:00 PM, 12:15 PM - 3:00 PM In Person |
Description
What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment—recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision.
PrerequisitesPrerequisite: Open to junior BFAAE students only or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Package Design | 3131 (001) | Jacob Ristau | Fri
9:00 AM - 3:00 PM In Person |
Description
Students produce simple and complex three-dimensional studies. Principles of abstraction combined with packaging construction techniques serve as the basis for developing solutions. A variety of assignments are given that explore the integration of typography, image, and form.
PrerequisitesPrerequisite: VISCOM 2001 and VISCOM 2011. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Adv Wksp: Private Writing | 3140 (001) | Richard O'Reilly | Tues
3:30 PM - 6:15 PM In Person |
Description
A writer's creative output is not strictly limited to novels, poems, plays, stories, and other traditional literary forms, but may also include texts historically viewed as private documents: diaries, letters, personal reflections. In this class, we will consider these latter forms as literature unto themselves, along with interviews and public performances of the creative self, small-scale and large. We will focus on interviews and conversations by authors including James Baldwin, Lorraine Hansberry, David Foster Wallace, Bob Dylan, August Wilson, and Imogen Binnie. We will look at journals and letters by Samuel Beckett, Flannery O'Connor, Alice Walker, and Anais Nin, to examine how private writings and correspondences inform the creation of the artistic self. We will write our own journals and letters, and conduct and transcribe interviews with peers on the events of the day. This class is recommended for students with an interest in literary biography and ephemera, as well as experimental generative practices.
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Credits |
DepartmentLocation |
| Adv Writ:The Long Poem | 3140 (002) | Peter O'Leary | Thurs
3:30 PM - 6:15 PM In Person |
Description
In this course, students will propose and then begin to execute the composition of a long poem. Proposals will focus not only on quality of inspiration in subject and idea, but also on formal concerns (in what manner to write a long poem), and issues of feasibility. Our reading material will be several long poems written in English, each demonstrating formal and subjective concerns, including: Wordsworth?s two-part 'Prelude' (1799) (self and historical events as subject; blank verse); Whitman?s 'Song of Myself' (1855) (self as subject; free verse; serial form); Hopkins? 'The Wreck of the Deutschland' (1875) (catastrophe as subject; rhymed verse; serial form); Mina Loy?s 'Songs to Joannes' (1917) (love/passion as subject; free verse; serial form); Robinson Jeffers? 'The Roan Stallion' (1925) (violence/natural world as subject; blank-free verse; narrative form); H.D.?s, 'Trilogy' (1944) (war/catastrophe/esotericism as subject; free verse; serial form); Aime Cesaire?s 'Notebook of a Return to a Native Land' (1947) (post-colonialism/surrealism as subject; free verse/prose-poem; notebook form); Basil Bunting?s 'Briggflatts' (1965) (self/sex as subject; free/rhymed verse; seasonal form); Ronald Johnson?s Radios (1977) (Milton/cosmos as subject; poem-by-excision as form); and Anne Carson?s 'Glass Essay' (1995) (literature/break-up as subject; free verse; narrative form). The goal of the course is to have students on their way to completing their own long poems by the end of sixteen weeks.
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Class Number |
Credits |
DepartmentLocation |
| Baroque, Decolonized: Image/Music/Text, 1400-1800 | 3151 (001) | Tues
3:30 PM - 6:15 PM All Online |
|
Description
Ideas of nature that formed globally between 1400 and 1800 intersect with the emergence of the Baroque, and represent a profound field of force configuring human-environmental relations into the present. In many ways, we’re haunted by the shocks and aftershocks of this period: colonization, enslavement, extraction, genocide, pandemic, and mass death reshaped the world. This course provides students with an interdisciplinary point of departure for considering these histories through visual art, literature, and music. Readings and object engagements will vary, but will begin with critical theory oriented towards contemporary concerns but that parallel the historical arc of the course, namely Mark Payne's Hontology: Depressive Anthropology and the Shame of Life (Zer0 Books, 2018). Artists and works studied and that we will study together will focus on those represented in the Art Institute collection, and include Salvator Rosa, Peter Paul Rubens, and Caravaggio, alongside the music of Jacopo Peri and dramatic works of Shakespeare. Yet the course expands the focus of Baroque inquiry, as less a movement than way of thinking at the threshold of creativity, emotion, and awe, to work with diverse contemporaneous modes of indigenous expression in the Hemispheric Americas, including Nahua art produced in the lands now known as Mexico and Pueblo and Diné (Navajo) art created or that otherwise indexes the period under consideration. Course work will include a journal of visual analysis; four one-page essays; an annotated research bibliography; and final seminar paper of eight to ten pages.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mysticism in/around/under Mathematics | 3152 (001) | Luna Jaskowiak | Fri
3:30 PM - 6:15 PM In Person |
Description
Issac Newton is credited with creating mathematical models of the laws of classical physics as well as being an inventor of infinitesimal calculus, but is less well-know as an alchemist despite almost a tenth of his writing being dedicated to the subject. Far from being an isolated example, this is a surprisingly normal occurrence when considered against what we know of the history of mathematics. In this course we will examine the shared history and similar ontological and epistemological structure of mystical and mathematical practice Babylon in the early second millennium until now. Some relevant topics that this class will investigate include: epistemology, ontology, access to knowledge, collective acceptance of new knowledge, what constitutes forbidden or obscene knowledge, the irrationality of the square root of 2, Cantor's project, occult mathematical practice in the second world war, basic algebraic geometry, the psychology of new religious movements and secret societies, recent history of mathematics and natural science, mathematical logic, what “is” truth, systems of inference, symbolic representation, combinatorics, chaos magic, aesthetics of mathematics, meditation and more. Course work may vary, but will primarily consist of weekly reading and short quizzes in addition to less frequent writing assignments.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mysticism in/around/under Mathematics | 3152 (002) | Luna Jaskowiak | Fri
8:30 AM - 11:15 AM In Person |
Description
Issac Newton is credited with creating mathematical models of the laws of classical physics as well as being an inventor of infinitesimal calculus, but is less well-know as an alchemist despite almost a tenth of his writing being dedicated to the subject. Far from being an isolated example, this is a surprisingly normal occurrence when considered against what we know of the history of mathematics. In this course we will examine the shared history and similar ontological and epistemological structure of mystical and mathematical practice Babylon in the early second millennium until now. Some relevant topics that this class will investigate include: epistemology, ontology, access to knowledge, collective acceptance of new knowledge, what constitutes forbidden or obscene knowledge, the irrationality of the square root of 2, Cantor's project, occult mathematical practice in the second world war, basic algebraic geometry, the psychology of new religious movements and secret societies, recent history of mathematics and natural science, mathematical logic, what “is” truth, systems of inference, symbolic representation, combinatorics, chaos magic, aesthetics of mathematics, meditation and more. Course work may vary, but will primarily consist of weekly reading and short quizzes in addition to less frequent writing assignments.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The invisible Cinema: Asian American Cultural Diaspora | 3153 (001) | Tatsu Aoki | Tues
12:15 PM - 3:00 PM In Person |
Description
A marginal cinema and history; a course designed for an undergraduate level art history. This course looks at Asian American Cinema experience and historical development as Asian American ethnic cultural diaspora and visionally representations. From political to imaginary, this course will look at works of Asian American representation through cinema and examine the Asian American & pacific Islander American experience as told though cinematic expression such as documentary, short films, feature length narratives, experimental films and mainstream Hollywood releases. Along with weekly viewings of films and excerpts, the course will also discuss Asian American collective identity and social issues, historical background, economy of film production, racism, negative stereotyping, Hollywood whitewashing, cultural appropriation, and media activism. Historically significant artists, filmmakers and producers will be presented for weekly discussion. Some of the artists introduced in the class are: the matinee idol Sessue Hayakawa (1889?1973), to Anna May Wong (1905?1961), Winifred Eaton Reeve, Renee Tajima, Steven Okazak, Wayne Wang, Kelly Saeteurn, Quentin Lee, Justin Lin and others. Weekly viewings of films and journals, One Midterm assignment and one final Paper.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Furniture 2: Prototyping for Furniture | 3155 (001) | Lee Weitzman | Mon
9:00 AM - 3:00 PM In Person |
Description
This digital-analog studio affords modeling and prototyping for furniture and other objects at environmental scale. Students construct prototype objects for living while learning a diverse range of technical and process options for making at scale in materials including wood, metals, plastics, fabrics and foams. Focus on fluid improvisation in prototyping designs both by hand and using CNC and other integrated fabrications technologies. The course explores the systems work of Enzo Mari and Gerrit Rietveld to understand simple construction and scaffold mechanisms for creating quick prototypes. We watch an array of craft and wood engineering videos to understand manufacturing and fabrication techniques, and how prototyping takes place in furniture businesses. There are three major assignments, each yielding a unique piece of furniture. Naturally, the scope and scale of the projects increase as the semester moves forward. Additionally the course includes two day-long charettes to deliver specific skills and two field trips, to a furniture manufacturer and to a furniture show room.
PrerequisitesPre-req: DES OB 2118 Furniture 1: Chair Studio |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: Three Apocalypses | 3159 (01S) | Peter O'Leary | Fri
12:15 PM - 3:00 PM In Person |
Description
Seven thunders! Seven seals! Blaring trumpets and clashing cymbals. A seven-headed hydra. A lamb on a throne of blood. Stars falling to earth. The beginning and the end. And an angel saying, “What thou seest write in a book.” The metaphors and the agitation of the Book of Revelation are intense. They draw from the deepest sources of the imagination: Awe at life, magical beasts and powerful forms, proclamations of power, and fears about life’s end. Written 1900 years ago, the Book of Revelation continues to feed the imagination. In this course, first we will read Revelation closely, looking at it in the context of the genre and meaning of apocalypse in the tradition of the Abrahamic religions. Second, we will read Annihilation, by Jeff VanderMeer, an uncanny novel about an ecological catastrophe that may be an alien invasion. Alongside, we will read Pope Francis’s encyclical Laudato Si’, his discussion of the moral and religious flaws that have caused climate change. Third, we will consider “The Leftovers,” a television series that concerns the aftermath of a global, apocalyptic event that happens in the near future in which 2% of the world suddenly vanishes in a Rapture-like event. And throughout this course, we will consider the question: What will a modern apocalypse look like?
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Soft Bulletins: Biological Communications | 3163 (001) | Brett Ian Balogh | Thurs
9:00 AM - 3:00 PM In Person |
Description
Societies, ecologies and organisms are complex systems that require coordination among their disparate elements to function. These biological systems accomplish this by communicating in a variety of different ways: sound, light, touch, chemical messaging, the exchange of genetic material and electrical impulses. This studio art course critically examines the variety of ways simple biological systems communicate through the lens of contemporary discourse around posthuman roles in the anthropocene and its attendant problems of mass extinction, climate change, clean energy and dwindling resources. The course will examine examples of biological communications among multicellular and unicellular non-human organisms and will draw on a history of artwork in the field of bioart. The studio asks the student to identify (speculate) ways they can intervene in, mimic or participate in these communication networks in order to inspire empathy and establish new ways of interspecies communication. Course activities will be supported by the purchase of kit whose contents will serve as tools to facilitate observation, recording, measurement and conversation with the subjects of our explorations. Each student will research a topic of interest and will respond to it through the lens of their own practice in the creation of a final project. No prior skills in electronics or art and technology studies are required; however, curiosity and a willingness to learn are a must.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Neon | 3164 (001) | Gregory Mowery | Wed
9:00 AM - 3:00 PM In Person |
Description
The relatively simple to program microprocessor technology and solid state hardware allow students to focus on issues of content and concept. Students will learn both industry standards and unique solutions of assembly, installation and presentation. Students will be asked to create work where the temporal, spacial and physical elements are intrinsically related. Artists will look at both commercial work from mid-century and current fine art with an emphasis on animation, and other implementations and mixing of technologies. A special emphasis will be given to Bruce Nauman, who most exemplifies the values of this course. Students will be required to complete assigned exercises early in the semester. There will be an assigned mid-term followed by several weeks of studio and a final critique.
PrerequisitesPre: ARTTECH 2112 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Literature of Latinx Diasporas | 3172 (001) | Fri
8:30 AM - 11:15 AM In Person |
|
Description
This course focuses on literature forged among Latinx diasporas and the continued effects of colonialisms. While the course uses the gender-inclusive term Latinx as its point of intersection, the writers, literary practices, and communities we will study are dynamic, distinctive, and heterogenous. We will read works by multigenerational writers of Latin American and Caribbean descent who live in the United States, including: Magdalena Gomez, Raquel Gutierrez, Darrel Alejandro Holnes, Monica Huerta, Claudia Castro Luna, Cherrie Moraga, Dave Ortega, and Jose Olivarez. In addition to contextualizing terms of self-identification (such as Nuyorican, Chicano/a/x, and Afro-Latinx) within larger social conditions and political movements, we will analyze how poetry, short stories, graphic novels, personal essays, and comics explore issues of race, ethnicity, gender, and sexuality. Latinx literature not only unsettles conventional expectations of literary genres but also demonstrates the liberatory and decolonial potential of literature. In this discussion-based course, students can expect to complete the following assignments: three essays, a creative response to materials in the Joan Flasch Artists’ Book Collection, a research/practice journal, and a final research-based project.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| History of Manga | 3173 (001) | Ryan Holmberg | Mon
6:45 PM - 9:30 PM All Online |
Description
This course offers a survey of the history of manga (Japanese comics) from its premodern predecessors to the present. Beginning with narrative picture scrolls in the medieval period, it will touch on forms of humor and political cartooning in the 19th and early 20th centuries, before moving onto multi-page stories, serials, and standalone books within the serially paneled comics medium. Related developments in non-Japanese comics and media like film, animation, illustration, and painting will also be considered. Among the major artists to be considered in this course are: Hokusai, Tagawa Suiho, Tezuka Osamu, Tatsumi Yoshihiro, Shirato Sanpei, Tsuge Yoshiharu, Hagio Moto, Otomo Katsuhiro, Takahashi Rumiko, and Tagame Gengoro. Students will be required to complete weekly readings, including translated manga and historical/interpretive essays, in addition to occasional reading responses, a research paper, and a final exam.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| LH:Medieval Journeys | 3190 (001) | Pamela Barrie | Tues
12:15 PM - 3:00 PM In Person |
Description
'Far from being a monoculture, the middle ages were shaped by cross-cultural contacts?from the monks who assimilated the mythologies of their pagan converts into Christian culture, to the merchants who carried new ideas along with their trade goods across vast stretches of central Asia. This course explores a variety of medieval texts that share the element of movement across borders: adventures in otherworldly realms, missions to distant corners of the globe, and mystical journeys that share remarkably similar experiences of the divine, though from faiths supposedly in conflict. Readings are across ethnicities, religions, and genders, including the lays of Marie de France, the travel memoirs of Arab diplomat Ibn Fadlan, and the visionary writings of English anchoress Julian of Norwich and Sufi poet Farid ud-Din Attar. In addition to two shorter essays on the readings, students do independent research of an in-depth paper on an aspect of medieval culture and literature reflecting the focus of the course.'
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| LH: Agony and Protest | 3190 (002) | Patrick Durgin | Wed
8:30 AM - 11:15 AM In Person |
Description
This course is all about ugly feelings, the uglier the better. Depictions of agony often constitute forms of protest. After all, we get the word “agony” from the Greek concept of “agon,” which means contest, debate, one-upmanship. We will use the interlocking themes of agony and political dissent to read works from widely different regions and eras. Expect to find Kim Hyesoon, Mahasweta Devi, Franz Kafka, Ana Arzoumanian, Jean Genet, Richard Wright, Leanne Betasamosake Simpson, Amiri Baraka, as well as: The Book of Job; blues by Robert Johnson and Billie Holiday; Miyo Vestrini's poems about death; Kathy Acker's transgressive opera; Eileen Myles and Dodie Bellamy's hymns to puking; Trisha Low's interrogation of being hated; and Dolores Dorantes's allegorical guidebook to crossing the US-Mexico border.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| LH: Banned Books | 3190 (003) | Kirin Wachter-Grene | Wed
12:15 PM - 3:00 PM In Person |
Description
Do you believe that people should have sovereignty over their imaginations? Do you believe that people should have private reading lives and the right to read under the First Amendment? Do you believe that people should have free access to information? These are the questions at the heart of one of the most pressing culture wars of our time: the sweeping increase in book banning in U.S. school districts and libraries. Reading and intellectual freedom are under siege and books that tell the stories of certain people in this country, particularly Black, queer, and trans people, are increasingly under attack. Why? In this class we will contextualize the banned books we read within these urgent political stakes to try to understand what is deemed, by some, to be so threatening as to be banished, and why that should concern every single one of us. Texts include some of the most banned and challenged books of recent years (including some that have been contested since their publication decades ago): the graphic novel adaptation of Margaret Atwood’s The Handmaid's Tale; Art Spiegelman’s Pulitzer Prize winning graphic novel Maus; Maia Kobabe’s graphic memoir Gender Queer; Alice Walker’s The Color Purple; Toni Morrison’s Beloved; and George M. Johnson’s memoir-manifesto All Boys Aren’t Blue. We will also push ourselves to consider recent forms of public censure, such as cancel culture, in relation to historical and contemporary literary censorship. In so doing, we will ask: what is the line between critique, moralism, and censorship? Students should expect to keep up with the reading and to write about and discuss texts and ideas in close and critical depth every week. Students should also expect to take turns as discussion leaders.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Truth, Perception and Story-Telling in Artists' Books | 3191 (001) | Alex Karenina Kostiw | Tues
9:00 AM - 3:00 PM In Person |
Description
Stories are a fundamental way that we share and understand information to make meaning. Storytelling, then, is in part an investigation of ?truths??of various realities that shape how we see the world. The intersection of content, internal narrative structure, and physical form, storytelling can illuminate ?truths? in ways that cause us to more deeply examine our perceptions, ideas, and beliefs. This course focuses on notions of truth in expression: how a fictional approach can express emotional truths; how multiple and contradictory views of a situation can reveal a truth; and how perceptions and beliefs can be called into question through story construction. A selection of readings and works, as well as visits to the Joan Flasch Artists' Book Collection, will provide examples of traditional vs. nontraditional, linear vs. nonlinear, and fiction vs. nonfiction narratives. Together with exercises in paper-based forms, they are starting points for exploring physical structures, methods, and devices of narrative discourse. The course treats the book form in broad terms: sequencing that reveals content or meaning over time. In 3-4 projects, students will develop their own content, work within project parameters to construct stories through image and/or text, and experiment with possibilities in narrative structure and form, whether paper-based or in other media.
PrerequisitesPrerequisite: VISCOM 3001 |
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Credits |
DepartmentArea of StudyLocation |
| Real-Time 3D | 3203 (001) | Alan Kwan | Tues
9:00 AM - 3:00 PM In Person |
Description
This course will explore new artistic possibilities of real-time 3D technologies that depart from traditional video game paradigm and typical tech fantasies of VR/AR. It will investigate real-time 3D as an art form itself, and encourage students to explore new forms of poetry and artistic expression enabled by 3D game engines. It will also expose students to experimental areas within the technical pipelines and encourage students to embrace a DIY spirit to develop their own artistry and language for the medium. We will watch, play, and discuss about different forms of artworks produced using real-time 3D technologies, including autonomous 3D simulation, interactive virtual world, real-time cinema, generative animation, mixed reality performance, and experimental video game. Some of the artists we will study in this course include Jeffrey Shaw, Harun Farocki, Tamás Waliczky, Tamiko Thiel and Tale of Tales. This course will use the 3D game engine Unity and 3D modeling software such as Maya or Blender. Students should expect to produce a mid-term project and a final project, to be presented in critique sessions of the course.
PrerequisitesPrerequisite: FVNM 2015 or FVNM 5020 or FVNM 5025 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Discoveries in Physics | 3204 (001) | Elizabeth Freeland | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course investigates the process of discovery in science, and in particular in physics. The historical and contemporary physics experiments we will study have led to some of the most profound insights we have about the natural world, be it on the largest scales or the smallest. The discoveries typically studied include: the search for aether, the discovery of pulsars, the discovery of the Higgs particle, and parity violation. Contemporary topics vary but may include tests of the speed of light, the measurement of gravity waves, or the imaging of black holes. Students will learn the background physics and context necessary to understand the experiments and their results. Additionally, we investigate the process of scientific discovery, the mindset of scientists, and the difficulties and the payoffs of research. We evaluate the culture of science, how that creates and is created by scientists. Finally, we consider the influence of awards, the general public, and the media on scientists, their discoveries, and our perception of them. Assignments include weekly homework reviewing factual material, several guided-journal writings, several in-class labs, two exams, and a short final presentation on a student chosen topic.'
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Western Music: 19th Century | 3211 (001) | Katarzyna Grochowska | Tues
3:30 PM - 6:15 PM In Person |
Description
This course is a survey of Western music from Beethoven to Mahler with emphasis on musical style, form, and nationalistic tendencies in historical, cultural, and social contexts. Each lecture focuses on a particular composition, composer, or genre. The intrinsic form of the Romantic era sonata--allegro is examined through the lens of a symphony, sonata, concerto, and string quartet. This course addresses issues such as the role of the opera; connections/influences between composers, writers, poets, painters and their impact on music history; small-scale home music making; and the developments of the 19th-century symphony. Students learn how to listen analytically to 19th-century music and are encouraged to use a macro-level music vocabulary in their discourse. Composers include Beethoven, Schubert, Chopin, Schumann, Mendelssohn, Liszt, Paganini, Mussorgsky, Bizet, Berlioz, Smetana, Rimsky-Korsakov, Verdi, Wagner, Brahms, and Mahler. Prior to lectures, students will watch documentaries and read short articles. This course also places a strong emphasis on listening to music and describing it. Two exams, a midterm and a final, focus on listening skills. Two short essays (6 page each) allow students to talk about music experiences and to use their acquired music vocabulary.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Search for Life in Universe | 3211 (001) | Lucianne Walkowicz | Thurs
6:45 PM - 9:30 PM In Person |
Description
Finding alien life across cosmic distance has challenged the limits of human imagination and technology for millenia. In this course, we will look at the fundamental questions that animate the search for life beyond Earth, delve into the scientific methodologies that we use to detect and recognize life, and unpack the sticky social questions of what it means to search for life (and what happens if we succeed!). Students will emerge understanding the many technical approaches to finding alien life, the ways human social values and pressures affect the pursuit of these methods, and an appreciation for the ways in which the search for alien life is intertwined with the study of life on our own planet. Last but not least, this course aims to help students contextualize reports and announcements about discoveries related to the search for life, and ask questions that will enable them to understand the significance of those reports.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Search for Life in Universe | 3211 (002) | Lucianne Walkowicz | Wed
6:45 PM - 9:30 PM In Person |
Description
Finding alien life across cosmic distance has challenged the limits of human imagination and technology for millenia. In this course, we will look at the fundamental questions that animate the search for life beyond Earth, delve into the scientific methodologies that we use to detect and recognize life, and unpack the sticky social questions of what it means to search for life (and what happens if we succeed!). Students will emerge understanding the many technical approaches to finding alien life, the ways human social values and pressures affect the pursuit of these methods, and an appreciation for the ways in which the search for alien life is intertwined with the study of life on our own planet. Last but not least, this course aims to help students contextualize reports and announcements about discoveries related to the search for life, and ask questions that will enable them to understand the significance of those reports.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| The Universe: Contents, History, and Evolution | 3212 (001) | Mon
8:30 AM - 11:15 AM In Person |
|
Description
For millennia, people have asked questions about the nature of the universe, its origins, and its history. Yet it is only recently that we have developed the tools to answer these questions through scientific observations. This class explores the cutting edge of our understanding of cosmology and the physics of the universe. What have we learned, and what are the remaining, open questions? We discuss the Big Bang, the expansion of the universe, the mysterious phenomena called Dark Matter and Dark Energy, and the methods that scientists use to study the farthest reaches of space and time.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| The Universe: Contents, History, and Evolution | 3212 (002) | Fri
8:30 AM - 11:15 AM In Person |
|
Description
For millennia, people have asked questions about the nature of the universe, its origins, and its history. Yet it is only recently that we have developed the tools to answer these questions through scientific observations. This class explores the cutting edge of our understanding of cosmology and the physics of the universe. What have we learned, and what are the remaining, open questions? We discuss the Big Bang, the expansion of the universe, the mysterious phenomena called Dark Matter and Dark Energy, and the methods that scientists use to study the farthest reaches of space and time.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Western Experimental Music: Disrupting the Canon | 3213 (001) | Allie n Steve Mullen | Wed
6:45 PM - 9:30 PM In Person |
Description
A critical survey of Western music from 1950 to the present, this course investigates the western experimental music tradition with a focus on issues of representation. Where are the women and BIPOC composers in studies on western experimental music? What are the implications of classifying certain forms of experimental music over others as ‘classical’ music and ‘fine art’ music? What do these classifications tell us about cultural values, power, and the privileging of certain musics and voices over others? As we identify the supposed ‘canonic’ figures of the period, the techniques they used, the processes they employed, and the creative motivations that drove them, we will note the collapse of tonality, and the influence of popular and ‘world’ music styles on Western ‘art music.’ We will look at the role of ‘silence’ in music, aleatoric or ‘chance’ music, total serialism, musique concrète, minimalism, jazz, emerging popular styles, and the appropriations of Black American, Pacific Islander, and Hindustani music traditions. We will study the music and thinking of composers like John Cage, Karlheinz Stockhausen, and Steve Reich, while asking ourselves why so much more has been written about their work than the work of composers like Daphne Oram. We will also discuss why the works of saxophonist John Coltrane and rapper Kendrick Lamar are not typically classified as 'art' music in Western music studies. The course includes weekly reading and listening, 3 short writing assignments as well as experimental creative analysis, a term paper, and an in-class presentation.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Motion Graphics and Visual Effects | 3215 (001) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
Students learn a wide range of post-production digital techniques for 2D animation, compositing (layering, collaging), and creating visual effects for video productions. Students produce projects that incorporate manipulated still images, animation, desktop video, and audio. Those who are intrigued by this kind of image manipulation will find the capabilities of the software dynamic and inspiring. Screenings and analysis focus on the use of such techniques in the world of video art, television, and film.
PrerequisitesFVNM 2000 or FVNM 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Cont Music: Modern Composers | 3215 (001) | Emily C. Hoyler | Thurs
8:30 AM - 11:15 AM All Online |
Description
This is a course on contemporary art music: its history, philosophy, performance techniques, and interdisciplinary worlds. Its aim is to enjoy, explore, analyze, critique, expose, and learn about Western art music and modern composers from the turn of the twentieth century to the present day. The focus is on experimental music, composers, musicians, and conceptualists. Gender, race, class, and privilege are explored as they pertain to the career of the professional artist. Course objectives include building strong listening skills and acquiring the vocabulary to speak and write about music and its cultural contexts effectively. Screenings and viewings will vary but will typically include examples of works by musical artists such as Laurie Anderson, Cathy Berberian, John Cage, Wendy Carlos, Philip Glass, Pauline Oliveros, Terry Riley, and Arnold Schoenberg. Readings will also vary but will typically include works by musicologists such as Daniel Albright, Joseph Auner, Mark Katz, and Carol Oja, as well as writings by composers about their own music. Topics will include modernism, expressionism, atonality, technology, indeterminacy, minimalism, performance art, and experimental opera and theatre. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback. Assignments may include a close listening essay and an original research paper. Students will present a 10-minute oral presentation on their research paper.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Cont Mus:Experimentalism Unbnd | 3215 (002) | William T. Faber | Fri
3:30 PM - 6:15 PM In Person |
Description
Experimentalism Unbound: Hearing the Noises beyond Sun Ra and John Cage Following the recent centennial celebrations of Sun Ra and John Cage, this course takes up the music and thought of both figures as pathways to three interlocking issues central to contemporary musical practice: the roles of improvisation and performance; the affordances of technology and circuits of mediation; and the articulation of musical meaning with matters of race and gender. Moving across the borders of discipline and genre, course materials will serve to anchor and amplify our inquiry, being drawn from the fields of musicology, philosophy, film studies, and social history, among others, as well as the practices of jazz, experimental music, electronic dance music, and Jamaican popular musics. Our weekly lectures, readings, listening exercises, and writing assignments will ultimately equip students to undertake final research projects which critically extend and apply the questions and themes raised in the course.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Advanced 2-D Computer Animation | 3216 (001) | Tues
9:00 AM - 3:00 PM In Person |
|
Description
This course continues a rigorous exploration of After Effects as a motion graphics, animation, and compositing tool for both 2D and 3D applications. A variety of techniques including Flash digital hand drawn animation, rotoscoping from live-action, and integration of 3D models from Maya are implemented. This course draws upon a wide range of animated sources from commercial to experimental, and requires a completed short animated film demonstrating technical proficiency as well as conceptual depth.
PrerequisitesPrerequisite: FVNM 3105 or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Roots and Routes of Hip Hop | 3216 (001) | Oliver Shao | Wed
12:15 PM - 3:00 PM In Person |
Description
This course examines the roots and routes of hip hop from its emergence in New York City to its circulation across select areas of the globe. Why do people living in different parts of the world engage in hip hop? What kinds of aesthetics, ideologies, and behaviors are manifested through hip hop music? How do hip hop scenes differ, and how are they connected? We will discuss these, and other questions, through studying the lived experiences of participants involved in various hip hop music scenes throughout the globe. Through analyzing films, texts, and audio/visual recordings, we will develop our vocabulary for critically discussing the manifestation of hip hop cultural practices across temporal, spatial, and social boundaries. We will pay particular attention to the ways cross-cultural engagements with hip hop shapes intersecting identities of race, gender, sexuality, class, religion, and nation. We will also consider what hip hop artists can teach us about pressing global issues ranging from racism and sexism to economic marginalization and religious discrimination. Coursework will include reading responses, short writing assignments, and a final research paper/presentation that focuses on the social life of a hip hop performing artist(s).
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| Physical Computing: Outside the Box | 3218 (001) | Shawn Decker | Wed
9:00 AM - 3:00 PM In Person |
Description
This hands-on course embraces and develops a radically wider concept of computation that includes responsive, purposeful behavior that may be embodied in many types of physical media, objects and environments. Artists from many disciplines explore answers to such questions as: How can the computer perceive and understand the environment outside its box? Can the computer be taught to respond astutely to human gestures and actions in its vicinity? How can previously inert materials be given life? Basic programming and interfacing techniques for sensory awareness, embedded intelligence, communications, and purposeful behaviors are applied to the creation of intelligent objects and responsive environments in this multidisciplinary course.
PrerequisitesPrerequisite: ARTTECH 2101 or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Large Scale Cinematic Production | 3223 (001) | Meredith Zielke | Wed
9:00 AM - 3:00 PM In Person |
Description
This advanced-level production course introduces students to two methodologies of large-scale moving-image making--hierarchical and collaborative. Following a project-selection process based on a submitted student proposals/scripts, students will perform roles as part of a production team, shifting responsibilities between 2 selected projects. Projects created will explore pre-production and production in traditional or hybrid narrative, documentary, experimental and/or installation-based forms. The course will include site-visits and in-class visits from production and curatorial specialists.
PrerequisitesMust take 2 3000 FVNM or SOUND classes |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Everyday Electronics | 3231 (001) | Brett Ian Balogh | Wed
12:15 PM - 3:00 PM In Person |
Description
Much of our everyday experience is mediated by electronics. From toasters to smart phones, the devices we interact with vary widely in their function and complexity, but all are composed of a set of common electronic components and function in ways determined by the connection of these components. This course provides an introduction to electronic theory as it relates to the connection of these components. Topics to be covered will include but are not limited to reading schematics, DC and AC circuits, passive and active devices, filters, amplifiers and oscillators. Students will not only learn theory, but will also learn by constructing their own circuits by hand and by using circuit simulation and analysis tools in this laboratory course. Student learning will be assessed through weekly homework and laboratory assignments as well as several exams.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| Physics of Motion | 3252 (001) | Elizabeth Freeland | Thurs
12:15 PM - 3:00 PM In Person |
Description
This class provides a basic introduction to the conceptual and quantitative framework necessary to understand the physics of the dynamical world around us. Some questions we address are: What do we need to know to describe motion? How do we model the movement of objects (kinematics)? What makes an object move (interactions, dynamics)? What different ways do we have to think about motion (forces, energy)? Reviewing skills in algebra as we go, we cover Newton's laws of motion and the analysis of physical systems in terms of forces and energy. We study the motion of objects on surfaces and those moving through the air. We take an introductory look at the forces of gravity and surface forces like friction and the so-called normal force. Some time will be spent studying the lack of motion, or static equilibrium. Laboratory and problem solving explorations help us develop important physical concepts and scientific reasoning skills. Applications are drawn from everyday phenomena as well as topics in architecture and design. Assignments include weekly homework, in-class problem solving and lab activities, two to three exams, and a short final project on a topic of the student's choosing.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top: Sights and Sounds of Eastern Europe | 3252 (001) | Katarzyna Grochowska | Mon
12:15 PM - 3:00 PM In Person |
Description
Standard textbooks of European music have long emphasized their commitment towards studying the Western part of the continent. When it comes to the eastern region of the mainland, no such textbook exists. The scholarly marginalization of Eastern Europe’s cultural, religious, and ethnic diversity contributes to negligence and underappreciation of the region. The purpose of this course is to examine the history and arts at several sites in this region and to listen to its music. Through this approach, we will examine cultural identities such as Greek, Byzantine, Slavic, Eastern Orthodox, Russian, Jewish, Ottoman, and Romani. We will visit historical and contemporary sites such as Kaliningrad, Kiev, Cracow, Prague, Budapest, Istanbul, Zagreb, and Ljubljana. We will also listen to “classical” music of Romanians, Poles, Russians, and Hungarians as well as to “folk” music from Transylvania, the Balkans, and the Baltic states. The music repertoire of this course spans from medieval Polish and Hungarian manuscripts to the late 20th-century Estonian (Arvo Part) and Russian (Sofia Gubaidulina) composers.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Music and Sexuality | 3255 (001) | Emily C. Hoyler | Fri
8:30 AM - 11:15 AM All Online |
Description
From fin-de-siecle decadence to pop feminism, this course explores issues and representations of sexuality in twentieth-century western music, including opera, musical theater, instrumental music, art song, and popular music. Themes include modernist thought, sonic constructions of sexuality, and gendered roles in music. Drawing from musicology and gender studies, this course will address diverse aspects of the identities of composers and artists through examining authorship, expression, and performance. Course objectives include building strong listening skills and acquiring the vocabulary to speak and write about music and its cultural contexts effectively. Screenings will vary but will typically include examples of works by musical artists such as David Bowie, Benjamin Britten, Ornette Coleman, Madonna, Cole Porter, Prince, Ma Rainey, and Rodgers & Hammerstein. Readings will include works by authors such as Jane Bernstein, Philip Brett, William Cheng, Tammy L. Kernodle, Susan McClary, Sheila Whiteley, and Stacy Wolf. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback. Assignments may include a close listening essay and an original research paper. Students will present a 10-minute oral presentation on their research paper.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Virtual Flat to Form: Digital Patternmaking, Grading, Marker Making, and 3D Rendering | 3260 (001) | Aubrie J. Meyer | Tues
3:30 PM - 9:15 PM In Person |
Description
This course explores more advanced CAD processes for the fashion and apparel industry. Students learn applications used to address fabric characteristics, such as stripes/plaid, shrinkage, stretch, and block fusing. More advanced drafting functions will be used, creating entire garments through digital patterning, culminating in 3D rendering. This course also focuses on the Grading and Marker Making functions required for manufacturing. This course utilizes CAD software from Gerber Technology, helping companies around the world develop and manufacture products in the apparel, aerospace, furniture, automotive, packaging, and sign & graphics industries in 130 countries. Companies using this technology include Gap, Target, Liz Claiborne, Levi Strauss & Co., Lockheed Martin, Sara Lee, Toyota, Mattel, Hanesbrands, Theory, General Motors, and Cintas Corp. There will be practical exercises, applying patternmaking techniques, utilizing various software functions. Students will complete a final project of a unique design, presented in fashion fabric with 3D images.
PrerequisitesVirtual Flat to Form |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| History of Opera | 3260 (001) | William Harper | Wed
8:30 AM - 11:15 AM In Person |
Description
Often called the ultimate art form, the operatic spectacles of music, storytelling, and ritual were at the core of varying European cultures during the 18th, 19th and 20th centuries. As such, they influenced and generated many innovations in literature, fashion, visual arts, dance, and music. In this course, we will screen operas such as Mozart?s Don Giovanni and The Magic Flute; the 'gesamtkunstwerk' operas of Wagner such as The Ring of the Nibelungen and Parsifal; examples of the French 'Opera Comique' such as Bizet's Carmen; the Italian opera of Verdi, La Traviata and Rigoletto; the 'verisimo' operas of Puccini, La Boheme, Il Trittico, and Madame Butterfly; and Strauss' radical, early 20th century operas Salome and Elektra. We will also encounter contemporary operas by Kaija Saariaho, Meredith Monk, Phillip Glass and John Adams. The primary resources for our studies are the operas themselves. We will screen operas during each class, review the social and historical contexts for the operas, and examine the compositional and scenographic techniques of the various productions. Course work will include a short paper on each of the works screened and a mid-term and final exam on selected arias from the operas.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| Introduction To Philosophy | 3300 (001) | Herman Stark | Tues
6:45 PM - 9:30 PM In Person |
Description
This course familiarizes students with basic philosophical skills: clear reasoning, examination of the soundness and validity of arguments, and development of consistent positions on certain philosophical issues. The course may be organized historically by studying the thought of major philosophers, beginning with Plato, and ending with the modern era (examples of figures studied: Plato, Aquinas, Descartes, Locke, and Nietzsche); thematically (studying major themes in philosophy such as free will and determinism, the existence of God, and the mind-body problem); or by school of thought (studying major trends in philosophy such as pragmatism, analytical philosophy, Marxism, existentialism, and phenomenology). Readings range from historical to contemporary sources, including the pre-Socratics, Plato, Aristotle, Augustine, Anselm, Aquinas, Descartes, Hume, Kant, Hegel, Heidegger, Quine, and Rorty. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top:Critical Game Studies: Gaming the Systems | 3300 (002) | Omie Hsu | Tues
8:30 AM - 11:15 AM In Person |
Description
This is a class where we will think about games with respect to social and political life; it is not a game design course. It puts Game Studies and Critical Theory in conversation with each other in order to invite questions and thought about what the formal, aesthetic, historical, sociopolitical, and affective dimensions of games could teach us about the formal, aesthetic, historical, social, and affective dimensions of politics. We will read games across genre and type - from First-Person Shooter video games to collaborative board games to Role-Playing mobile games to drinking card games (without the drinking). We will also read theory across disciplines and fields - from theories of embodiment (like queer theory or race and ethnicity studies) to debates in game studies (like ludology v. narratology) to concepts behind design elements (like game mechanics or player interaction) to questions of contemporary sociopolitical life (like critiques of capitalism or Science and Technology Studies). Also expect to play some games and to write short, though regular, critical analyses.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top:Environmental Justice | 3300 (003) | Charles Corwin | Thurs, Thurs
8:30 AM - 11:15 AM, 8:30 AM - 11:15 AM In Person |
Description
In this course, students will engage with theoretical and historical perspectives of environmental inequalities on a global and regional scale. The course examines community responses and policy solutions to environmental problems, particularly at the intersection of environmental quality and public health and race, gender, and class inequities. We also discuss environmentalism amid colonial and capitalist power structures. Southeast Chicago and Little Village, two Chicago communities with rich histories of environmental activism, serve as local case studies. The readings for this course include works from Rachel Stein, who writes on environmental activism and gender; Anna Tsing, an anthropologist concerned with human/nature interactions at the edges of global capitalism; Robert Brulle, a scholar/activist writing on current environmental movements; Kyle Whyte, who writes from an indigenous perspective on the relationships of indigenous peoples and climate activism. We will also review policy papers from the National Resource Defense Council and other advocacy groups. Course work includes weekly reading responses and a final project that brings together knowledge and action on environmental justice, either through a strategy paper or an artistic project. This course generally meets at Homan Square 5-6 times a term.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top:Sounding Bodies | 3300 (004) | Whitney D. Johnson | Fri
12:15 PM - 3:00 PM In Person |
Description
This course will situate the sociological knowledge of the aesthetic ?good? in the corporeal techniques of hearing and listening, particularly when the artistic medium of sound crosses the boundaries of the brain, body, architectural space, and material objects. As auditory culture has moved from the concert hall and music venue into galleries, museums, and outdoor public spaces, cultural practitioners have been prompted to ask how bodies perceive, understand, and evaluate the sounds they encounter. With a rich literature on sound, space, and embodiment, this course will not only survey sonic works in art music and the gallery arts but also the ways that technological advancements have changed exhibition practices and the perceptual capabilities of bodies. In combination with sound studies, a nexus of social theory and phenomenology will draw out the connection between bodies and technologies.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Latinxs Studies | 3301 (001) | Christina Gomez | Tues
3:30 PM - 6:15 PM In Person |
Description
The Latinx population currently consists of approximately 61 million people or about 18.5% of the U.S. population; by 2050, the U.S. Census estimates that the Latinx population will make up 30 percent of the total U.S. population. This course examines the diverse social, economic, political, and cultural histories of those commonly identified as Latinas/os/xs in the United States. Course work will vary but typically includes reading responses, short papers, and a final project and presentation.. This course combines the close reading of required texts with detailed classroom discussions, providing students with the tools needed to question, discuss, and examine topics, such as, the social construction of race and ethnicity, immigration, colonialism, forms of resistance and social movement activity, colorism, poverty and education. Students should expect to produce a body of work consisting of three essays during the semester, and a final presentation of a project that is shared with the class.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Oceanography | 3310 (001) | Michele Hoffman | Wed
12:15 PM - 3:00 PM In Person |
Description
The topics of physical, chemical, geological, and biological oceanography are discussed in this course. The ocean as a stew of nutrients (chemical oceanography) which feeds marine life (biological oceanography) and in turn is controlled by the shape and makeup of its container (geological oceanography) are considered. Additional topics include reef formation, fisheries, ocean circulation, seabed mining, coastal development and hazards, and offshore drilling.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Art of the 1980s | 3310 (001) | Simon Anderson | Wed
6:45 PM - 9:30 PM In Person |
Description
In assessing currents and concepts in contemporary art, this course examines the various elements in all media that have come to define postmodernism. The course places special emphasis on women artists during the 1980s, the European contribution to contemporary art, and the exploration of recent art in Chicago.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Type Design and Lettering | 3311 (001) | Mary Krysinski | Tues
9:00 AM - 3:00 PM In Person |
Description
Typeface design is a specialized sub-category of typography. Not every graphic designer designs type, every designer must be proficient in the more general topic of typography for their profession. Type design differs from typography because it involves the design and production of letterforms, which are a part of typography, but does not involve the details and setting of type in a format that conveys a particular message. This course is for students who want to learn the technical skills necessary to design a font that can be used in a professional setting, and with the software tools used by graphic designers. Students will learn about the history of type design, and explore various methods of letterform drawing, learning the minute details and characteristics required for legibility. This will be used as a basis for experimenting with different styles of letterforms to create their own font, and learn how to use the necessary software to publish their font for commercial use. Readings by type designers will be included: 'Designing Type' by Karen Cheng, and 'House Industries Lettering Manual' by Ken Barber are two of the books which readings will be taken from. 'Sign Painters: The Movie' is one of the movies that will be shown. Guest speakers from the Chicago area will be brought in. Students will be expected to produce one complete font design by the end of the semester. Before starting their font, smaller assignments will be given which involve different lettering techniques, researching and drawing a historical style of lettering, and semi-weekly readings.
PrerequisitesPrerequisite: VISCOM 3011 or a Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Water:The Science of a Human Right | 3312 (001) | Michele Hoffman | Mon
8:30 AM - 11:15 AM In Person |
Description
Welcome to Water! This is a 3-credit introductory course on the science of water, it's associated resources, the sustainable use and management of the global water supply, and a conversation and dialogue about global water conflict. Through this course you will learn about the chemistry of water, its form and function, impacts of the quality and quantity of water on human lives and the environment, aspects of human survival that depend on water and the proper disposal of wastewater, the importance of conserving water, and the impact that future policies and economic changes might have on the availability of water in the US and around the world.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Abrupt Climate Change | 3314 (002) | Peter Puleo | Wed
12:15 PM - 3:00 PM In Person |
Description
Since 1970, global temperatures have risen more than a degree Fahrenheit, yet, despite dire warnings from climate scientists, humanity continues to emit climate-warming greenhouse gases at record pace. In the past two decades we have seen the increasing effects of devastating sea level rise, stronger and more powerful storms, longer droughts, deadly heat waves, destructive wildfires, accelerating loss of the world?s rainforests, growing species extinction rates, and changing water availability. In this course, we will explore the scientific explanation of contemporary climate change as well as the economic origins of our fossil fuel addiction. We will discuss future projections of climate change, the underpinnings of modern ?climate change denial?, and whether we can avoid what scientists call ?catastrophic climate change? in this century. We will consider current news articles, and articles in the scientific literature. We will address relevant policy solutions/responses, and screen relevant documentaries/news clips. Class work will involve group work, critical thinking, quantitative practice, relevant scientific readings, qualitative homework, quizzes, an exam and a final project.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Ethics | 3315 (001) | Annie Corbitt | Thurs
3:30 PM - 6:15 PM In Person |
Description
The course is an historically structured survey of ethical theory. The aim of the course is to familiarize students with the major ethical theories developed over the history of philosophy and to apply these theories to contemporary social and political problems, such as the authority of government, the significance of consent and democratic rule, charity, friendship, war, and the distribution of wealth. Class time is focused heavily on discussion of the intuitions brought to bear to defend and explain these theories, such as our own impressions of when and why someone is morally responsible for what they do. Major texts include Plato?s Gorgias and Crito, Aristotle?s Nicomachean Ethics, Augustine?s On the Free Choice of the Will, Kant?s Groundwork, Nietzsche?s Genealogy of Morals, Mill?s Utilitarianism, Nozick?s Anarchy State and Utopia, and Rawls? Theory of Justice. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Existentialism | 3320 (001) | David B. Johnson | Fri
3:30 PM - 6:15 PM In Person |
Description
Existentialism has left a profound influence on contemporary Western thought, including philosophy, literature, film, theater, and graphic arts. It is a philosophical movement oriented toward two major themes - the analysis of human existence and the centrality of human choice. Existentialist conceptions of freedom and value arise from their view of the individual. According to Existentialist thinkers we are all ultimately alone, isolated islands of subjectivity in an objective world ,who have absolute freedom over our internal nature. Existentialism traces its roots to the writings of Søren Kierkegaard and Friedrich Nietzsche. As a philosophy of human existence, existentialism found its best 20th-century exponent in its foremost representative Albert Camus. Camus believed that the essence of human existence in freedom. He criticized the human tendency toward 'bad faith,' reflected in humanity's perverse attempts to deny its own responsibility and flee from the truth of its inescapable freedom. In this course, we will examine themes of subjectivity, individuality, freedom and meaning that are central to Existentialist philosophy. To arrive at these goals, we will turn to works of philosophy, literature and film. As part of the course we will practice the principles of persuasive writing by learning how to make claims, analyze and make arguments about the works we will be discussing.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top: Epistemology | 3330 (001) | Nathan Lauffer | Fri
3:30 PM - 6:15 PM In Person |
Description
A detailed philosophical investigation of a few topics of special contemporary interest. See topic description for more information.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top: Animal Ethics | 3330 (002) | Raja El Halwani | Tues
8:30 AM - 11:15 AM In Person |
Description
Non-human animals are, whether directly or indirectly, an important part of human lives, and human beings are an important part of animals’ lives. Human beings are always preoccupied with moral questions, and such questions have been recently finally brought to bear, with intense focus, on the lives of non-human animals and how human beings ought to relate to them. This course addresses some of these questions: (1) Do animals have moral standing? If yes, what does this mean and what is this moral standing? (For example, do they have rights or is it their sentience that matters?) (2) May we consume animals or their products? If no, why not? If yes, under what conditions? (3) Under what conditions may we experiment on animals? (4) What is it about animals’ nature, as opposed to plants’, that leads some to claim that it is wrong to kill or use them but not wrong to kill or use plants? (5) May we hunt animals in the wild? May we interfere in their lives to help lessen their difficult lives? (6) What are some debates surrounding the ethics of zoos and aquariums? Finally, (7) what are morally acceptable and unacceptable political activism on behalf of animals? Students will gain an understanding of important issues and theories in animal ethics; critically evaluate their own moral convictions; and learn to construct arguments and explain philosophical ideas. Among others, authors we read are Carol Adams, Carl Cohen, David DeGrazia, Rosalind Hursthouse, Alastair Norcross, Mark Rowlands, Tom Regan, Peter Singer, Roger Scruton, and Nick Zangwill. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top: Philosophy of Memory | 3330 (003) | Irina Ruvinsky | Thurs
8:30 AM - 11:15 AM In Person |
Description
Many philosophers from a range of traditions have offered theories of memory and have recruited memory to address other philosophical questions about personal identity, knowledge and meaning. This seminar will focus on a variety of philosophical and literary works ranging from St. Augustine and Rousseau to Lock and Bergson. We will make connections to historical treatments of memory and explore memory’s connection to other areas of philosophy, such as personal identity and consciousness of time. The goal of this course is to think more carefully about how and why individuals and societies remember, the role of forgetfulness and the relationship between memory and emotion. In order to answer these questions we will bring together works in philosophy, sociology, literature and film. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Philosophy of Art — II | 3342 (001) | Raja El Halwani | Tues
12:15 PM - 3:00 PM In Person |
Description
Philosophy of art is a crucial field in philosophy and one important for art students to take. In this second part of the course (registering for this course does not require you to have taken Part I), we explore two crucial and basic topics in contemporary philosophy of art. (1) How is art evaluated? Here, we discuss the issue of whether art evaluation is objective in some sense or whether it is ultimately subjective (whether it is a matter of taste). We also look into the interaction of art and ethics, especially whether ethical assessments of artworks affects their overall artistic value, and vice versa. In this regard, we consider artworks that traffic in unethical views and those accused of cultural appropriation. (2) What is the value of art? Here, we explore the bedrock question that should be at the forefront of every art student’s mind, which is the value of art. We distinguish between intrinsic and instrumental values of art, and we discuss whether art has any cognitive, moral, or historical value, and we discuss its relationship to providing aesthetic experience. Authors include Aristotle, Malcolm Budd, Noel Carroll, David Hume, Sherri Irvin, Eileen John, Plato, Richard Shusterman, Frank Sibley, and Jerome Stolnitz. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Philosophy of Religion | 3352 (001) | Annie Corbitt | Tues
3:30 PM - 6:15 PM In Person |
Description
What is religion? What is the philosophy of religion? This course introduces students to major questions, concepts, arguments, and problems in the philosophy of religion. We ponder a variety of definitions and descriptions of religion, and inquire philosophically into a wide range of religious claims. We consider various philosophical issues including the cases for and against theism; atheism; faith, belief, and doubt; the problem of evil; religious experience as a basis for knowledge; religious pluralism; feminist concerns; religion and race; and the place of ethics in contemporary philosophy of religion. Students read major ancient and medieval figures including Plato, Aquinas, and Teresa of Avila; modern critics such as Marx, Nietzsche, Freud, and Simone Weil; feminist philosophers including de Beauvoir, Irigaray, Carmen MacKendrick, and Amy Hollywood; and thinkers in black theology such as Cornell West and Jay Kameron Carter. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Mushrooms, Molds and Medicine | 3362 (001) | Patrick R. Leacock | Tues
3:30 PM - 6:15 PM In Person |
Description
Fungi are members of a kingdom of organisms that is distinct from plants and animals. They are exceptionally enigmatic, not just to everyday people, but to scientists as well. This course serves as a primer to the world of fungi, defining what fungi are and what they are not, and providing a conceptual understanding of these organisms. We explore the taxonomic diversity of fungi before considering their diversity from an ecological perspective. Students learn to identify different forms of fungi, grow them in the lab, and perform experiments to understand how they function. Finally, this course evaluates the importance of fungi from a practical human standpoint (food, medicine, art, spirituality), and discuss important questions to be addressed in the scientific field of mycology.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Modern and Contemporary Native American Art | 3382 (001) | Risa Puleo | Mon
12:15 PM - 3:00 PM In Person |
Description
In this course, we will explore the ways in which the idea of persistence might be said to characterize modern and contemporary Native American and Indigenous arts practices--including performance, film, video, painting, sculpture, printmaking, and photography, among others. The artists we will examine employ a range of tactics to engage social, cultural, economic, and political relationships as they occupy and articulate Indigenous worldviews and systems of knowledge that are often incommensurable with Settler structures and ideologies.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Molecular Media: Structure, Biochemistry, and Material Science | 3414 (001) | Andrew H. Scarpelli | Tues
12:15 PM - 3:00 PM In Person |
Description
As artists, the use of novel media often allow artists to find new means by which to express themselves and explore their message and meanings. Understanding the chemical structures and properties of the materials and components of media often allows for more sophisticated implementation and ease of use. In this course, we will focus on understanding the chemical and biological features of a number of different materials and developing a familiarity with materials as a means of further understanding common materials, identifying sustainable practices, and incorporating chemistry and biochemistry into meaningful creation. Readings and screenings will vary but typically include peer reviewed articles from science journals, writings on material science and biochemistry, and alternative such as podcasts and online video series. Special focus will be on bio-materials. Course work will vary but typically includes weekly reading responses, a mid-term, and a partnered final project focusing on the properties and production of different materials.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Puppet Animation | 3420 (001) | Shelley Lynn Dodson | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class introduces students to the design, construction, and filming of 3D-puppet animation (stop motion) through a diverse range of materials and techniques. Students gain experience in making puppets, creating an environment and learning lighting and cinematography. Through demonstrations and in class animating, students gain experience in animation techniques related to timing and performance. Practical, conceptual and artistic methods are explored. A variety of stop motion examples will be shown, from classic animators like Ray Harryhausen to more contemporary animators like Emma De Swaef and Marc James Roels. Past student work will also be shown as examples of creative and effective works of stop motion. An assignment is given every week. Half way through the semester, students present storyboards and concept development for a final project which involves the creation of puppets, a cohesive environment and shooting at least one of animation.
PrerequisitesFVNM 2420 or 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Animation: Sound to Image | 3423 (001) | Matthew Marsden | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course introduces methods of animating to a soundtrack and the relationship between dialogue, voiceover, sound and image. Animating to logged audio, students learn the most normative pipeline for creating animated images. Advanced camera movements and digital 2-D animation with backgrounds are also covered. Students complete weekly assignments that build toward a final project, an animation with sync sound. Various International Animated works will be screened and discussed, From independent artists to innovative television. Examples of literary works, and interviews and articles will be presented as they apply. Negotiating sound and silence, image, text, content, form in ones work, are an important element in this course. Students complete a two-week group lip-sync project, 4 weekly assignments, and a final 6 week project with sync sound. advanced or graduate students may make the weekly assignments part of their final.
PrerequisitesFVNM 2420 or 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Drawing for Animation | 3430 (001) | Matthew Marsden | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended.
PrerequisitesFVNM 2420 or 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Chaos, Catalysis and Kinetics | 3450 (001) | Gary McDowell | Wed
12:15 PM - 3:00 PM In Person |
Description
The world today may seem like it spirals further and further into chaos. But increasing disorder has always been a fundamental requirement of natural processes like chemical reactions. Balance, stability, order and chaos are as fundamental to how the world works on the microscopic level as they are in our daily lives. This class will explore our events, institutions, and art through the lens of chemical concepts such as entropy, equilibrium, catalysis, and kinetics. Class work will involve collaborative group work, critical analysis, and engagement with current concepts in the scientific literature across a range of disciplines. We will use quantitative in-class assignments, qualitative homework, quizzes, an exam, and a final project.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| 'China/Avant-Garde': Contemporary Chinese Art since the 1970s | 3469 (001) | Jennifer Dorothy Lee | Tues
12:15 PM - 3:00 PM In Person |
Description
What counts as ?avant-garde?? Can a work of art be radically new and traditional at the same time? Can it incorporate Western art forms and techniques and still be considered Chinese art? These were questions that Chinese artists coming out of the Cultural Revolution grappled with as they sought to reconcile Chinese artistic traditions and historical realities with Western modern and contemporary art practices. This course takes its name from the seminal 1989 exhibition China/Avant-Garde, which sought to survey the most advanced practices of the day and stake a claim for Chinese avant-garde art in relation to the shifting categories of ?modern,? ?postmodern,? ?contemporary,? ?Eastern,? and ?Western? art. Considering this exhibition and other developments from the late 1970s to the present, we will chronologically study roughly four decades of art and exhibition practices during a period of unprecedented socio-economic, political, and spatial change. We will look at a wide variety of art forms (painting, sculpture, photography, installation, video, performance, conceptual art, socially engaged practices); key exhibitions; and diverse artists including Ai Weiwei, Cai Guo-Qiang, Lu Yang, Song Dong, Xu Bing, Zhang Dali, Zhang Huan, and Yin Xiuzhen, among others. Through weekly lectures, discussions, select readings, and museum visits, students will develop the vocabulary and visual reasoning necessary to analyze a wide variety of challenging artworks, situate them within a historic and theoretical context, and construct informed arguments about them.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Architecture and Art of the Islamic World | 3482 (001) | Tues
3:30 PM - 6:15 PM In Person |
|
Description
This course is a survey covering the major works of architecture and art from the Islamic world. It discusses the architecture of this civilization in greater depth than many surveys of Islamic art, over a period ranging from the beginnings of Islam in the 7th century up to and including the 20th century. Emphasis will be on the major stylistic differences between the building traditions of the Medieval Spain, the Maghreb region, Egypt and Syria, the Seljuq and Ottoman empires in Turkey, Persian and Central Asian architecture, the Mughal empire and lastly Islamic architecture as it has developed in the Far East, in countries such as China, and Malaysia. In addition, the course will also cover the applied arts in Islam, such as ceramics, carving, Oriental carpets, calligraphy and miniature painting. Required work consists of three quizzes and three short research papers of 5-6pages in length each. Two assignments will involve analyzing Arab architecture and non-Arab monuments. The third will cover an area in the decorative arts/painting.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Top:Sociology of Consumption | 3500 (002) | Aiko Kojima Hibino | Tues
6:45 PM - 9:30 PM In Person |
Description
Consumption is central to our lifestyles and identities in contemporary societies. What you wear, what you eat, what you watch — in short, what you buy— seems to confirm who you are or how you want to display yourself to society. What does it mean to be a consumer, and how does that specific identity intersect with other identities, such as a citizen, a producer, and an artist? In this course, we will explore various arguments about consumption in modern society to understand the development and significance of this specific economic and cultural behavior.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Law and the Environment | 3500 (004) | Frank Bonacci | Fri
3:30 PM - 6:15 PM In Person |
Description
The law is the gateway to all things. It opens doors to some activities, and it closes doors to others. As citizens, our contact with the legal system usually occurs when we have gone awry of the law. But the reach of the law is much greater than our usual contact with it. In this course, we will study one such aspect of the law—its effects and influences on the environment. The course will begin with a general introduction to the legal system. Then we will examine environmental law and policy, including major cases. Throughout the course, we will ask ourselves how these laws—writing, implementing, and enforcing them—affect art and artists.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Globalizing Japanese Pop Culture | 3500 (005) | Aiko Kojima Hibino | Mon
8:30 AM - 11:15 AM In Person |
Description
In this course, we will take various Japanese pop culture genres including comics, anime, food, fashion, music, etc. and examine the interplay between local and global culturescapes. Students are expected to critically inquire into the reality and complexity of people's lives in Japan as reflected in cultural products and to explore cultural transformation in Japan as a part of the dynamics of globalization. Locally 'common' value and knowledge is challenged as culture traverses borders. From the expansion of Japanese fan communities to the Asia-Pacific region and Brazil, to feminist criticism of gender representation, we will employ case studies to overcome our conscious or unconscious exoticism and to deepen our understanding toward Japanese culture in global context. Key points of inquiry will include: what racial and ethnic relations/tensions underlying global popular culture; economic and political factors driving trends in Japanese popular culture; gender, sexuality, and the politics of representation.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Modern European Architecture and Theory: 1890-1965 | 3502 (01S) | Timothy Wittman | Tues
6:45 PM - 9:30 PM In Person |
Description
This course surveys the development of commercial, institutional and residential architecture and interiors in Europe from 1890 to 1965. It examines significant movements and individuals that shaped modern architecture's history through an analysis of the theoretical literature that accompanied the built forms now understood as 'modern.' Seminal texts analyzed include those by Morris, van de Velde, Loos, Gropius, van Doesburg, Le Corbusier, Aalto, Rowe, Stirling and Rossi, among others.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Advanced Black and White Photography | 3511 (001) | Kate O'Neill | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course refines and expands Black and White skills learned in previous classes. It is geared towards students, who seek to deepen a conceptualized approach to b/w photographic imagery for their work. It is covering a wide gamut of analogue and digital techniques, regarding b/w images as contemporary means of artistic expression and engagement with our world. The course is designed to allow a rigorous focus on individual narratives in an advanced production pace and surrounding. The amalgamation of conceptual inquiry and aesthetic outcome is the very center of this class, seeking to synthesize meaning and making on the backdrop of the historical ballast and beauty of this field.
PrerequisitesPHOTO 1001 and PHOTO 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Anatomy & Physiology | 3513 (001) | Dianne Jedlicka | Sat
1:00 PM - 3:45 PM In Person |
Description
This course serves as a basic introduction to human anatomy. The skeletal, muscular, digestive, circulatory, nervous, and reproductive systems are covered, with special emphasis on the skeletal system in reference to other mammals (a little bit of comparative anatomy!). The physiological processes of the aforementioned systems are examined allowing students to understand the processes. Laboratories include the use of plastic human and mammal models and dissections of preserved ?recycled? sheep organs (kidney, brain, heart, and eye). Labs designed by students while observing concerts at Chicago Symphony Center will focus on the Nervous system (especially special senses) and the Endocrine system (hormones). Other labs will be conducted at our Art Institute of Chicago and the Field Museum of Natural History.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Anatomy & Physiology | 3513 (002) | Dianne Jedlicka | Wed
8:30 AM - 11:15 AM In Person |
Description
This course serves as a basic introduction to human anatomy. The skeletal, muscular, digestive, circulatory, nervous, and reproductive systems are covered, with special emphasis on the skeletal system in reference to other mammals (a little bit of comparative anatomy!). The physiological processes of the aforementioned systems are examined allowing students to understand the processes. Laboratories include the use of plastic human and mammal models and dissections of preserved ?recycled? sheep organs (kidney, brain, heart, and eye). Labs designed by students while observing concerts at Chicago Symphony Center will focus on the Nervous system (especially special senses) and the Endocrine system (hormones). Other labs will be conducted at our Art Institute of Chicago and the Field Museum of Natural History.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Neuroscience and the Mind | 3519 (001) | Jacqueline A. Bonds | Tues
6:45 PM - 9:30 PM All Online |
Description
Neuroscience is a fascinating field of study in which the mechanisms of brain function are being unraveled at an incredibly fast pace. This course will focus on the foundations of neuroscience, moving from the cellular level to understanding entire systems. We will extend our knowledge of how the brain works to further understand thoughts, beliefs, emotions, personalities, and how memories and experiences are formed. This course will also explore current methods in neuroscience research and experimental design. Readings will be pulled from neuroscience textbooks, current research articles/reviews, and other texts from well-known neuroscientists. Building from a systematic approach to understanding the brain, we will also discuss how the experience and production of art impacts and shapes our minds. Course work includes weekly reading and written homework assignments. The final consists of a written paper which will focus on a topic of neuroscience that the student is particularly interested in, as well as a short oral presentation of their topic to their peers. Active participation, willingness to creatively hypothesize about brain function, and an interest in the mind are required in order for us all to learn and enjoy!
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| NATURAL HISTORY | 3520 (001) | Dianne Jedlicka | Thurs
8:30 AM - 11:15 AM All Online |
Description
This course is an introduction to the principles of ecology, emphasizing detailed field investigations of natural communities. Natural History studies allow for many aspects of knowledge to be applied to the understanding of a Biological concept. Among the topics explored are the dynamics of lake ecosystems, forest succession, trophic structure in streams, dune ecology, and territorial behavior in breeding birds and mammals. Lecture/Discussions examine major themes in modern ecology, including energy flow, nutrient cycling, and species diversity. Selections from nineteenth- and twentieth-century American naturalists (Thoreau, Muir, Burroughs, and Leopold) provide perspective on the relationship of humanity to nature. Global warming and pollution dynamics are explored. Lab activities at the Field Museum of Natural History, Lincoln Park Zoo, and the Shedd Aquarium strengthen the understanding of these concepts.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| HS:The Cuban Revolution | 3520 (002) | W Douglas | Thurs
6:45 PM - 9:30 PM In Person |
Description
A variety of specific historical studies are offered on a rotating basis. Recent offerings have included The Limits of Reason, a study of European Enlightenment; Sex, Booze, and Baseball, the nature of leisure activities in American cultural life; Space, Heaven, and God, a study of the relationships of religion, astronomy, and cosmology; and War in American History.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| HS:Propaganda: The Power of Lies | 3520 (003) | Mon
8:30 AM - 11:15 AM In Person |
|
Description
Propaganda is everywhere. From Nazi propaganda posters to Latin American street art, anti-war cartoons, Maoist communist textbooks, propaganda has defined nations and kept populations in check. Governments and nonprofit organizations have also devised compelling slogans to win support for wars or to garner community support. This course will explore the history of propaganda in the context of mass politics, public relations campaigns, imperialism, anti-colonial campaigns, and the rise of different regimes.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| HS: History through Comics/Graphic Narratives | 3520 (005) | Fri
8:30 AM - 11:15 AM In Person |
|
Description
A variety of specific historical studies are offered on a rotating basis. Recent offerings have included The Limits of Reason, a study of European Enlightenment; Sex, Booze, and Baseball, the nature of leisure activities in American cultural life; Space, Heaven, and God, a study of the relationships of religion, astronomy, and cosmology; and War in American History.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| HS:History of Radio | 3520 (01S) | Emily C. Hoyler | Thurs
12:15 PM - 3:00 PM All Online |
Description
Since the early twentieth century, radio technology has shaped innovations in communication, news, and entertainment. This powerful medium has driven political influences, established cultural trends, generated communal listenership, and diminished spatial boundaries for the dissemination of information. Radio served as a precursor for later forms of mass media such as television, the Internet, and podcasts. This course will address the history, theory, and aesthetics of radio transmission in Europe and North America. Through lectures, discussion, listening, reading, and writing, students will explore radio?s influence on social habits, political dynamics, and artistic expression.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Animal Behavior | 3521 (001) | Dianne Jedlicka | Sat
9:30 AM - 12:15 PM In Person |
Description
Why do birds migrate? When do whales sing? What does a bee's dance mean? Animals have fascinating behaviors that have both puzzled and amazed observers. This class will explore current theories behind these actions. The lecture/discussion aspects of this course will focus on theories and concepts while the lab component will focus on collecting (Virtual zoo camera) observational data on local fauna and coming up with hypothesis to explain the observed behaviors. Student-collected original data will then be discussed and new or additional theories proposed. This course includes VIRTUAL Zoo camera data observations from any zoo around the world that has zoo cameras!
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top:Theorizing Disability | 3522 (001) | Joseph Grigely | Wed
12:15 PM - 3:00 PM In Person |
Description
This course is an experimental seminar devoted to recent discussions about disability in the US and in Europe: how is disability represented, and how are these representations constructed? Readings include the following, among many other texts: Georgina Kleege's Sight Unseen, Julia Kristeva's recent essays on disability, and several Supreme Court Opinions regarding ADA, including Alabama v. Garrett, Toyota v. Williams, and Tennessee v. Lane. In the second half of the semester, seminar participants present papers and related research on disability as a social and theoretical construction.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Wandering Uterus: Journeys through Gender and Medicine | 3532 (001) | Terri Kapsalis | Thurs
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary course approaches the topic of gender, race, and medicine from cultural, historical, and scientific perspectives. We consider hysteria (purported to be caused by a 'wandering uterus') and other mental afflictions associated with sex and gender, the foundation of U.S. gynecology and its dependence on enslaved bodies, the Women's Health Movement and its legacy, queer and trans health issues, and sex health education. Readings include works by Audre Lourde, Charlotte Perkins Gilman, Elaine Showalter, Leslie Feinberg and Andrea Smith. We will also consider the ways in which artists have addressed issues of gender, race and medicine in their work. Assignments include an interview project, written reflections, and a final research-based project.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Botany: The Plant Biology | 3533 (001) | Patrick R. Leacock | Fri
8:30 AM - 11:15 AM In Person |
Description
This course is designed to inspire the understanding of the significance of plants to human life. The beauty and diversity of nature is expressed most vividly in the flora of the Earth. Plants are essential for the survival of all living animals, and form a dynamic relationship with them in the environment. As well as a source of wonder, plants provide food, energy, medicine, and innumerable commercial products. The course will explore plant biology, the form and function of plant types, modes of growth and reproduction, and genetics and genetic engineering.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Botany: The Plant Biology | 3533 (02S) | Patrick R. Leacock | Fri
12:15 PM - 3:00 PM In Person |
Description
This course is designed to inspire the understanding of the significance of plants to human life. The beauty and diversity of nature is expressed most vividly in the flora of the Earth. Plants are essential for the survival of all living animals, and form a dynamic relationship with them in the environment. As well as a source of wonder, plants provide food, energy, medicine, and innumerable commercial products. The course will explore plant biology, the form and function of plant types, modes of growth and reproduction, and genetics and genetic engineering.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Sustainability | 3539 (001) | Michele Hoffman | Mon
12:15 PM - 3:00 PM In Person |
Description
In this course students learn about the scientific roots and complexities of diagnosing the most pressing environmental crises of the twenty-first century, their ethical and legal impacts on society, and the potential to achieve sustainability for the future. We raise stimulating ethical and legal debates about topics such as depletion of oceanic resources, loss of biodiversity, habitat destruction, depletion of topsoil, degradation of groundwater and more. This class is about critical thinking and incorporates team projects, debate, class discussion, and independent research to investigate the current state of the global condition and potential for a sustainable future.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| Reading Media | 3548 (001) | Peter L Haratonik | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course is an investigation of how media communicate messages and how we interpret them. From political propaganda to advertisements, television news to ?tweets?, we examine a process of critically 'reading' the many messages that we encounter on a daily basis. Through readings, class discussions, presentations and writing assignments we come to grips with what critic Stuart Ewen has called a world of 'all consuming images.' Readings include works by Plato, Marshall McLuhan, Neil Postman, Susan Sontag, Stuart and Elizabeth Ewen, and Henry Jenkins. Assignments include short critical essays on contemporary media, an in-depth at home exam based on class activity and readings, and a term paper or media presentation that analyses a current critical issue in media.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top: Madman/Mystic | 3550 (001) | Jeremy Biles | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course introduces students to important theories of, and concepts in, the study of religion, through a focus on two important figures working at the edges of surrealism: Georges Bataille and Antonin Artaud. Bataille the ?mystic? sought to shatter his ego through an ecstatic mysticism, whereas Artaud the ?madman? sought to integrate a fragmented self through a rage against God. We examine these thinkers? distinctive approaches to religion, asking how their thoughts and lives may animate the study of religion and artistic practices. Tracing the influences of psychoanalysis and surrealism in Bataille?s mystical experiences and Artaud?s visionary travels and blasphemous writings, we inquire into the construction and dissolution of religious subjectivity, while employing key concepts including: body, affect, ecstasy, desire, the sacred, eroticism, mysticism, blasphemy, excess, taboo and transgression, ritual, totem, fetish, sacrifice, expenditure, magic, and occultism. Students read important precursors to and interpreters of Bataille and Artaud, including mystics like Angela of Foligno; theorists like Durkheim and Freud; and philosophers and critics including Deleuze, Amy Hollywood, Shannon Winnubst, and Carmen MacKendrick. We also inquire into the relations between religion and aesthetic impulses in the work of artists such as Mike Kelley, Ron Athey, Nancy Spero, and Richard Hawkins. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top:Drugs We Use and Abuse | 3550 (001) | Sarah Burris, PhD | Mon
6:45 PM - 9:30 PM In Person |
Description
Drugs are substances that can alter processes in our minds and bodies. Humans have explored the use of such substances throughout recorded history. In this course we will establish the foundations of systems biology necessary to understand how drugs act on receptors and alter neurotransmitters in the human body, and how they are metabolized and excreted. We will survey a range of drugs (legal and illegal) and discuss how they work, enabling a critical consideration of how they are used and abused in contemporary society. Students will confront real-world media and current debates about medical and recreational drugs with a focus on the role of the underlying science.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top: Philosophies of Surrealism | 3550 (002) | Jeremy Biles | Tues
12:15 PM - 3:00 PM In Person |
Description
This course investigates philosophical underpinnings and motivations of surrealist thought and activity. Focusing especially on surrealism’s intersection with religion, students discern, critically evaluate, and elaborate philosophies of surrealism. Students learn about major philosophical precursors to surrealism, from ancient thinkers (Heraclitus, Plato) to modern thinkers (Kant, Hegel, Marx, Freud, Nietzsche, Fourier), as well as contemporary thinkers influenced by surrealism (Hélène Cixous, Byung-Chul Han, Giorgio Agamben). In addition, the class addresses philosophical modes and movements in conversation with surrealism (existentialism, phenomenology, deconstruction, object-oriented ontology). Major theories of religion from the likes of Emile Durkheim and Mircea Eliade are brought to bear in studying theoretical, literary, and visual work from a wide range of surrealists, including André Breton, Louis Aragon, Georges Bataille, Pierre Klossowski, and Claude Cahun. Students will also encounter major contemporary interpreters of surrealism, e.g. Susan Buck-Morss, Rosalind Krauss, and Hal Foster. The class considers possibilities for a “feminist surrealism” through the work of Leonora Carrington, Unica Zurn, and Penelope Rosemont, as well as the intersection of surrealism and Black thought through the work of Suzanne and Aimé Césaire, Frantz Fanon, Robin DG Kelly, and D. Scot Miller. Among the major concepts and themes focusing conversation are: subjectivity, identity, gender, sex, erotic desire, haunting, sacred, marvelous, decolonization, utopia, reason, excess, violence, politics, community, otherness, chance, dream, convulsive beauty, work, game/play, humor, dream, unconscious, economics. Assignments include three philosophical papers, undertaken in conjunction with walking, drawing, writing, and photography exercises.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Music, Migration, and Identity | 3557 (001) | Oliver Shao | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course examines the ways music shapes intersectional identities within broader contexts of migration. What makes music a potent means through which migrants maintain, negotiate, and transform their identities? How does music figure into broader discussions of race, gender, class, and religion in the lives of migrant communities? How is music used to reproduce and contest restrictive immigration policies? We will provide answers to these and other questions in our pursuit of understanding why music matters in the lives of people labelled as 'immigrants,? ?illegal migrants,' and 'refugees.? Readings and screenings will vary but will typically include case studies on traditional and popular music styles affiliated with Asia, Africa, and the Americas. Through a multidisciplinary approach, we will draw on theories and methods from ethnomusicology, historical musicology, media studies, gender studies, and critical race studies in our analysis of the linkages between music, migration, and identity. While coursework will vary, students should expect to complete reading responses, exams, fieldwork assignments, and a final project.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| The Nature of Ecology | 3557 (001) | Thurs
12:15 PM - 3:00 PM In Person |
|
Description
The natural world is in constant flux. The function and organization of biological organisms are determined through their interactions with one another as well as their environment. This general ecology course provides a foundation in this scientific field. We will examine how biological communities are structured, study ecological processes, and explore the local habitat types found in the Chicago area. Field trips and outdoor assignments will provide hands-on experience with natural communities and scientific inquiry.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentArea of StudyLocation |
| Dress and Society | 3567 (001) | Sandra Adams | Tues
12:15 PM - 3:00 PM All Online |
Description
Dress and Society examines, questions, researches and discusses many interconnections of clothing, cultures and fashions. We will focus upon syntheses occurring from the meeting of dress as individual self-presentation with diverse global, cultural, historic and contemporary contexts. Controversies, ethics, fashion biographies and recently-emerged expressions of human dress and adornment will be explored. Educated opinions will be furthered through museum exhibition visits, visiting artists' talks, critical readings on fashion/social concerns, and weekly viewing of current media articles and images. A Fashion film screening and assigned books on fashion artists' lives will be included. Assignments will include self-introductory illustrated presentation and 2 page museum response essay, fashion book and article readings, concise 'Fashion Now' Media Reports presented weekly, collaborative spoken and illustrated Fashion Book Panel presentations and a final 10 page 'Educated Opinion' Research Paper expanding upon course readings and further research. In-class discussions will occur every week and are integral to this course.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| Surface Tensions: Taxidermy and Contemporary Art | 3652 (001) | Giovanni Aloi | Thurs
8:30 AM - 11:15 AM In Person |
Description
Taxidermy became the most important tool of knowledge of natural history museums during the Victorian period when it fascinated audiences with its hyperrealist aura. Yet, it was never considered a form of fine art. Today taxidermy has entered the gallery space, but not on the merit of its accurate realism. The opposite is true: unrealistic taxidermy is the symptom of a difficult relationship with nature and alterity that marks today's ecological and capitalist global crises.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| How To Tell The Difference Between Clement Greenberg and CBGB: Modernism vs. Rock and Roll | 3663 (001) | Seth Kim-Cohen | Mon
12:15 PM - 3:00 PM In Person |
Description
In the mid-1960s, artists and musicians ran away from home, thumbing their collective nose at the structure and security provided by their modernist parents. On the road and in the streets, in dive bars and coffeehouses, on records and off the record, artists and musicians re-wrote not just the rules of art, but the rules that structured values, ideas, and lives. Rock and roll wasn?t just the soundtrack for these changes, but an active participant.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Seeing Hitchcock | 3685 (001) | Patricia Erens | Thurs
12:15 PM - 3:00 PM In Person |
Description
As one of the world's greatest film directors, Alfred Hitchcock is much more than ''the master of suspense. The semester will be devoted to analyzing Hitchcock's' masterworks as well as his major themes, including sin, the transfer of guilt, voyeurism, unconscious impulses, and gay sexuality. In addition, the class will focus on his visual style, film techniques and contributions to the art of cinema, using various critical approaches, such as psychoanalysis and feminist theory. Finally, the class will look at ways Hitchcock's films have influenced other directors, as well as artists across a wide variety of media. Through weekly screenings, lectures and discussions, students will learn how to critique individual works of art. They will be expected to finish two scholarly articles each week and to come to class prepared to discuss both film and readings in small discussion groups. Titles are sure include Vertigo, Rear Window and Psycho, among others. Students should expect to produce three major writing assignments during the semester: a midterm exam, a final exam and a final research paper, plus periodic quizzes and response papers. Through weekly screenings, lectures and discussions, students will learn how to critique individual works of art. They will be expected to finish two scholarly articles each week and to come to class prepared to discuss both film and readings in small discussion groups. Titles are sure include Vertigo, Rear Window and Psycho, among others. Students should expect to produce three major writing assignments during the semester: a midterm exam, a final exam and a final research paper, plus periodic quizzes and response papers.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Disease Dynamics | 3700 (001) | Kennen Hutchison | Mon
6:45 PM - 9:30 PM In Person |
Description
From viruses to vaccines, zombie-making fungi to tick bites that make you allergic to meat, fascinating, terrifying, mundane, and sometimes just outright bizarre diseases surround us every day. In Disease Dynamics, we will explore the basic science behind what causes different types of diseases, how our bodies naturally defend against them, and how medical innovations like antibiotics, vaccines, and insulin work to combat these diseases and disorders. Students will walk away from this class with an understanding of how their bodies together with science attempt to fight the ever-shifting, ever-present threats of disease they face each day. The course will survey topics including the immune system, autoimmune disorders, infectious diseases, vaccines and antibiotics, cancer, genetic disorders, and gene therapy. Coursework will include readings, quizzes, discussions, and an art-infused final project.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Introduction To Psychology | 3700 (001) | Michael Nagelbach | Sat
9:30 AM - 12:15 PM In Person |
Description
The human mind is one of the most fascinating and complex subjects of modern science. How can we possibly hope to understand it? This course will use the tools of psychological history and science to suggest answers. Recent and contemporary readings in psychological research and theory building, such as the nature of psychology & psychological research, learning theory, cognitive psychology, neuropsychology, psychodynamic psychology, & group and social psychology. Students will be evaluated for receiving credit in the class based on class participation, their written work (three papers) and their performance on three in-class exams.'
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Disease Dynamics | 3700 (002) | Kennen Hutchison | Tues
6:45 PM - 9:30 PM In Person |
Description
From viruses to vaccines, zombie-making fungi to tick bites that make you allergic to meat, fascinating, terrifying, mundane, and sometimes just outright bizarre diseases surround us every day. In Disease Dynamics, we will explore the basic science behind what causes different types of diseases, how our bodies naturally defend against them, and how medical innovations like antibiotics, vaccines, and insulin work to combat these diseases and disorders. Students will walk away from this class with an understanding of how their bodies together with science attempt to fight the ever-shifting, ever-present threats of disease they face each day. The course will survey topics including the immune system, autoimmune disorders, infectious diseases, vaccines and antibiotics, cancer, genetic disorders, and gene therapy. Coursework will include readings, quizzes, discussions, and an art-infused final project.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| History of Philosophy: Medieval to Renaissance Philosophy | 3702 (001) | Robert Kiely | Tues
8:30 AM - 11:15 AM In Person |
Description
The story of European philosophy in the Middle Ages is one of loss and recovery. A great deal of classical thought was lost when the Roman Empire crumbled, and those ideas were reintroduced and reconciled to European culture in a series of intellectual events spanning a thousand years. In this course, we trace the course of this process, from the monastic culture of the Early Middle Ages, to the Aristotelian world of the High Medieval universities, to the classical resurgence of the Italian renaissance. We explore a wide variety of written material. Augustine of Hippo and Boethius illustrate the period immediately after the fall of Rome, while Ibn Sina and Ibn Rushd demonstrate the crucial role played by Arab philosophy after the 9th century. Hildegard of Bingen and Peter Abelard embody the energy of European thought in the 12th century, and the scholastic synthesis of Thomas Aquinas represents the culmination of that intellectual energy. Finally, the work of Christine de Pisan and Pico della Mirandola manifest the Humanist character of the Otalian Renaissance. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| History of Philosophy: Hegel to the 20th Century | 3704 (001) | Guy Elgat | Tues
3:30 PM - 6:15 PM In Person |
Description
What is it to be an autonomous agent? To what extent is our agency free? In this course, we examine the manner in which the notion of individual, autonomous freedom is criticized and undermined in various ways in 19th and 20th century philosophy. After introducing the German philosopher Immanuel Kant’s thought, with its strong conception of individual autonomy, we look at Hegel’s critique of Kant and discuss his philosophy of history as a rational force that shapes and enables freedom. We then look at Marx and the materialist twist he gives to Hegel’s idea: it is not reason but economic conditions that determine a person’s degree of freedom. We then discuss Nietzsche’s ideas to the effect that it is certain socio-psychological forces that shape what we value. We end by looking at structuralist (Michel Foucault) and feminist (Marilyn Friedman) approaches to the question of autonomy. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Installation | 3705 (001) | Tirtza Even | Tues
9:00 AM - 3:00 PM In Person |
Description
The goal of the course is to understand, analyze and confront in practice various aspects of installation art in general and video installation in particular. The course will focus on themes such as site specific work; positive and negative spaces (use of light and projection); formation of an event or a situation (use of material, gesture and movement); the integration of video within sculptural/architectural, as well as narrative configurations etc. The examples shown in accordance with each topic will demonstrate various solutions to the issues discussed in class, and will include gallery and museum field trips as well as possible guest artist lectures. Visual examples will range from Cornell's boxes, minimalist and post minimalist art work, site specific projects by artists including Walter de Maria and Smithson, through pioneer installation makers such as Nauman, Bill Viola, Gary Hill and up to contemporary video installation makers such as Eijal liisa Ahtila, Stan Douglas, Isaac Julian, Doug Aitkins and many others. Readings will include articles by Peter Selz, Michael Archer, Fried Michael, Barbara London, Chrissie Iles, John Hanhardt and numerous others. Students will be required to plan and draw installation sketches as well as to videotape and construct actual video installation work. Class Requirements include weekly reading of relevant articles, two in-class team presentations of relevant artists, as well as 3 short installation production assignments and a more elaborate final project.
PrerequisitesPrerequisite: FVNM 3003 or 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Developmental Psychology | 3705 (001) | Gioia Pirrello | Fri
8:30 AM - 11:15 AM In Person |
Description
It is the purpose of this course to examine theories of psychological development across the lifespan, from birth to death. Students will learn theories of development as they apply to each stage of life and will apply their learning in case analyses, interviews, observations and presentations. There will be an emphasis in the course on the application and integration of a fairly wide array of theories to real life persons and situations. Students will learn to apply an array of developmental theories to explain developmental phenomena as they occur in case material, will be able to compare, contrast and integrate ideas from different theories and paradigms of developmental psychology. Readings will vary but may include C. G. Jung, J. Bowlby, E. Erikson, J. Piaget, M. Ainsworth, H.S. Sullivan, D. Levinson, G. Vaillant, K. Dabrowski and others. Students can expect a required final paper, and additional quizzes and shorter writing assignments.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Psychodynamic Psychology | 3738 (001) | Gioia Pirrello | Wed
8:30 AM - 11:15 AM In Person |
Description
It is the purpose of this course to examine the many theories that fall into the psychodynamic paradigm. This will include examining the work of Freud and those who have branched off from his basic ideas? such as Adler, Jung, Reich, Klein, Fairbairn, Kohut, Guntrip, Winnicott, Erikson, Mahler, Stern, Sullivan, Jacobson, Bion and Lacan, to name but a few. Students can expect a required final paper, and additional quizzes and shorter writing assignments.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Madness | 3740 (001) | Michael Nagelbach | Thurs
6:45 PM - 9:30 PM All Online |
Description
?Much madness is divinest sense,? Emily Dickinson wrote, further observing that ?much sense [is] starkest madness.? The poet insisted that the majority sets and enforces the standard by which sanity is evaluated. This course will introduce a variety of topics in the psychology of madness through lectures, discussions, and readings. In the twenty-first century, the study of the mind ?in psychiatry, psychoanalysis, clinical psychology, and especially psychopharmacology and neuroscience?claim tremendous scientific authority and exert enormous influence. This course explores varied clinical descriptions and models of madness. It also explores madness as a key cultural symbol, representing profound threats to order and rationality. There will be a mid-term paper and a final paper assignment and students will write brief essays on some of the readings and will be encouraged to do class presentations at some of our meetings.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Abnormal Psychology | 3742 (001) | Michael Nagelbach | Sat
1:00 PM - 3:45 PM In Person |
Description
The course will include information related to basic conceptualizations of so-called ?abnormal behavior,? historical perspectives on psychopathology, research methods and progress, and contemporary and emerging issues in mental health. Readings will include books and articles that reference, among other sources, information from the Diagnostic and Statistical Manual 5 (DSM 5). Students will be evaluated for receiving credit in the class based on class participation, their written work (three papers) and their performance on three in-class exams.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| The Psychology Of Death | 3745 (001) | Terry Dornak | Wed
12:15 PM - 3:00 PM In Person |
Description
This course examines the psychological impact of mortality. Questions include: How does the knowledge of our eventual death affect our everyday lives? What are the psychological effects of living under the ever-present threat of nuclear annihilation? Other topics are: the dynamics of human violence; survivor experience and traumatic syndrome; and healthy versus pathological grieving.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Psychology of Religion | 3751 (002) | Terry Dornak | Tues
12:15 PM - 3:00 PM In Person |
Description
An introduction to approaches in psychology to some of the major religions of the world, which may include spirituality in some general sense, mystical traditions, Judaism, Christianity, Islam, Hinduism, Buddhism, Confucianism and Taoism. The course may examine, for example, psychological research concerning religion and human development, mystical experience, conversion, new religious movements (cults), and mental health. At the conclusion of the semester, students will understand the major research trends regarding religious experience, conversion, personality and religion, and religious behavior, and the theories on which that research is based. A mix of papers, quizzes, class discussion and presentations will be required.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top: Anthro of China Today | 3800 (001) | Saul T Thomas | Mon
12:15 PM - 3:00 PM In Person |
Description
This course aims to approach China today through its various 'cultures' and 'subcultures'--the worlds of meaning constructed along with the establishment (and imposition) of identities of the 'self' and understandings and representations of all manner of internal and external 'others.' Our primary avenues of inquiry will be the broad categories of ethnicity, class, gender, and religion in the broadest senses. We will also discuss the methods and means of acquiring anthropological knowledge of China, and attempt to devise and conduct our own independent inquiries.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Anthropology of Tourism | 3800 (003) | Matilda Stubbs | Wed
12:15 PM - 3:00 PM In Person |
Description
This course provides an introduction to social theories on tourism and travel activities. Drawing from anthropological and ethnographic research, students will explore the significance of tourism over the 20th century, developing alongside travel and information technologies well into present day tourism behavior and the global leisure industry. Media including travel photography, travelogue, home movies, or virtual reality - all provide sociomaterial examples of the significance of the tourist gaze and imaginary not only for personal recreation, but also influencing representation of the global south, in historically distorted and problematic ways. Course readings and films challenge students to consider these theories in the contexts of the varied sites and forms of tourism practiced around the world today. Learning content allows students to survey and examine mass tourism as well as tourism that makes an effort to get 'off the beaten track' in search of authenticity and adventure. Topics covered span from heritage, eco, and sex tourism, to “voluntourism,” dark and tragic tourism, including “staycations” and “holistays.” Students apply these insights during experiential learning activities of local tourist sites, commercialism, and cultural production of leisure settings in Chicagoland. Students engage in ethnographic exercises, submit a photo essay, and plan a dream excursion, implementing ethical considerations addressed in the course via travel design, and future tourism activities.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top: Cars & Vehicular Cultures | 3800 (004) | Matilda Stubbs | Mon
12:15 PM - 3:00 PM In Person |
Description
Since the introduction of the German motorized wagon in 1886 and the Ford Model T in 1908, automobile transportation has dominated American roadways and speedways around the globe. From changes in vehicular design, performance, safety, and style - the sociomaterial significance of motor vehicles is integral to modern life. Whether a coming of age vessel or a technology of transportation, cars mobilize agency, often mediating feelings of nostalgia, fantasy, wonder, and even terror. This accelerated winter course examines the history, development, and diversity of 'car cultures' in the United States and in contexts abroad. Example topics range from hot rods, land yachts, and e-cars, to traffic, ride shares, and autonomous vehicles. Readings, films, and podcasts span from ethnographic research on vehicular subcultures to creative commentary on automobiles as a variety of designed objects - which have the potential to represent socioeconomic class status, race, gender, sexuality, and environmental risk. Learning and assessment activities involve engagement with academic scholarship and popular media about cars. Students will conduct short ‘autoethnographic’ field exercises involving participating and observing people and cars, and culminate with a final car advertisement analysis paper. Come take the ride!
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Intro Linguistic Anthrop | 3800 (005) | Matilda Stubbs | Mon
8:30 AM - 11:15 AM In Person |
Description
Next to breathing and eating, communication is arguably the most important activity of daily life. This course explores the world of communication and the study of culture through language. The material centers around the major theoretical and epistemological developments throughout the history of linguistic inquiry (Wittgenstein, Sapir, Pierce), specifically focusing on the contributions of linguistic anthropology (Boas and Hymes) and ethnographies of language (Basso, Carr, Fox, Mendoza-Denton). We will also explore semiotics (Agha)? the study of signs and the micro-level methods of basic social interaction and conduct independent language fieldwork projects to learn the basics of transcription and discourse analysis.
PrerequisitesPrerequisite: First Year English requirement. |
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Credits |
DepartmentLocation |
| Top:Health, Migration & Body | 3800 (006) | Christine M Malcom | Thurs
8:30 AM - 11:15 AM In Person |
Description
Economics dominate migration discourse, but the experience is an embodied one with consequences for physiological, mental, and social health. Through combined lecture and seminar, as well as writing assignments, this course covers topics such as racialized identity/health status as exclusionary criteria, the consequences of family and kin networks dismantled by cultural imperalism, the culture of mental health, medicalization of culture, the socioeconomic gradient, and the ethical, efficient delivery of healthcare to increasingly pluralistic societies.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Contemporary Art House Cinema: Fugue States | 3818 (001) | Melika Bass | Mon
12:15 PM - 3:00 PM In Person |
Description
Through screenings, lectures, and readings, this course will provide students with an introduction to key filmmakers and films of contemporary international art house cinema. In particular, this class will explore feature-length fiction films that revolve --thematically or structurally--around the idea of the psychological fugue state (a form of amnesia), and/or the fugal musical structure of theme-repetition-variation. Films will be screened and discussed in their relation to national cinemas, cultural histories, genre, and primarily, film form. Through their critical writing, students will explore the ways those films and filmmakers utilize formal elements of cinema, narrative, characterization, thematic elements, and ideological perspectives, and demonstrate how those elements are used both for aesthetic purposes and to create meaning within a film
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Wearing Many Hats | 3900 (001) | Maryam Taghavi | Tues
12:15 PM - 3:00 PM In Person |
Description
In this course, students will analyze and report on art world and cultural ecologies and explore professional work opportunities while reflecting on their current creative and scholarly interests. The course will lead to an expanded understanding of professional opportunities and the tools to pursue them while starting to identify each of our strengths and interests in identifying possible pathways for our lives that include (work life - studio life - love - finances - passion - family - etc...). Toward the end of the semester, as a way to bring into practice what was covered in the course, each student will participate in a class exhibition/presentation of current work and a portfolio of professional presentation materials to support one of the following (grant or job application and an exhibition/project proposal). Readings will address issues in the class and will include, 'GETTING YOUR SHIT TOGETHER: THE ULTIMATE BUSINESS MANUAL FOR EVERY PRACTICING ARTIST', ART/WORK (Revised + Updated) by Heather Darcy Bhandari and Jonathan Melber, and selections from the follwing books; 'Living and sustaining a Creative Life by Sharon Louden, 'The Creative Habit: a Practical Guide' by Twyla Tharp, among others. The deliverables in this class will include the following: 1) An illustrated verbal presentation of your current creative portfolio. 2) Research on one of the visitors to the class. 3) Class Exhibition including the entire class in an On Campus Space. 4) Printed and Digital Professional Portfolio.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Project Pragmatics: Getting Your Work Out Into the World | 3900 (001) | Jordan Martins | Fri
12:15 PM - 3:00 PM In Person |
Description
This course will prepare students for developing project proposals in various contexts ranging from informal collaborations with artist run spaces to formal grant applications. We will focus not only the process of conceptualizing a project idea and persuasively organizing the necessary content around it, but also explore the pragmatic aspects of carrying it out and interfacing collaboratively with an art space, an institution, or other artists. In addition to workshopping the various elements needed for a hypothetical project, students will be required to conceptualize, propose and execute a proposal of some scale at the end of the semester to put into practice the skills and ideas explored in the course. In doing so, we will use the project proposal as a means to understand the broader ecosystem of the artworld and the different roles people play within them: artist, curator, programmer, institution, non-profit infrastructure, commercial and corporate factors, and more. Chicago?s landscape of artists, institutions and DIY spaces will provide ample case studies and first hand know-how for us to tap into as we build an understanding of the interrelationships between an artistic practice and the space within which it is presented or contextualized.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Statements, Grants, Proposals | 3900 (001) | Rosalynn Gingerich | Tues
8:30 AM - 11:15 AM In Person |
Description
This interdisciplinary seminar introduces, deepens and extends writing skills and helps to develop concepts that can sustain, guide and propel artistic practice after graduation. Central to the class is the professional completion of two grant applications, followed by a mock jury event that simulates actual jurying procedure. In conjunction with the applications, students write artist statements and develop project proposals. We also discuss how the arts and the public intersect, whether in popular opinion, historic context or professional settings. This includes an assessment of the relations of artists and audiences, artists and administrators and curators, and artists and critics.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Legacies of Punk and DIY Methods in Production | 3900 (001) | Sid Branca | Wed
12:15 PM - 3:00 PM In Person |
Description
This production course will explore the legacies of punk and alternative cultures via DIY (do-it-yourself) methods across an array of mass media. Topics covered through case studies will include: self-publishing and organization; touring and DIY exhibition; remaining and reinventing forms; and connecting production to political empowerment, support and action. Case studies will include grass-roots movements like riot grrrl/queercore (1990's) and amateur cinema (1920's), alongside presentations by contemporary visiting artists. Projects will include producing and tabling for Chicago Zine Fest; collaborative motion picture production; and an end-of-semester exhibition.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| (Re)Defining Success as an Artist | 3900 (001) | Fri
12:15 PM - 3:00 PM In Person |
|
Description
In this course, students will explore and create their own definitions of success, starting with their preconceived notions of what it means to be a successful artist. We will break down outdated expectations and myths and will rebuild unique, personal, and fulfilling plans for a creative life. Through writing, mentoring, and research students will explore career paths and what it means to live the flexible and nuanced life of an artist. We will investigate a number of topics and tools that support a career in the arts, including: mind-mapping, goal-setting, creating professional materials (CV, statement, bio), applying to professional opportunities such as grants and residencies, studio visits, and working with galleries. Course material will include artists’ personal accounts of leading a creative life and tools they use to make projects more rich. This course involves numerous written assignments; students must be prepared to write and edit their work. Students will choose from a vast menu of short projects in order to tailor their experience in the class to their career goals. Final assignments will include 1) a clear personal vision of success; 2) steps for achieving short and long-term goals, and 3) refined professional materials suitable for application.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Runway Meets Runway: Fashion Accessories and Designing Objects You Wear | 3900 (001) | Stephanie Sims | Tues
3:30 PM - 9:15 PM In Person |
Description
Runway Meets Runway is an excursion into the intersection of fashion and object design via the accessories and technologies that we wear, carry on and carry with. Working equally in the Fashion Department and AIADO, the students use investigation, iteration and innovation to design and fabricate a collection of accessory designs using analog and digital tools from worlds of both fashion and of product design. This Junior Seminar course includes visits to studios of professional designers to supplement individual developments of objects, lines and looks. Students will develop a web presence appropriate to their emerging practice. Sample Class Activities: Built around the idea that culture is something we carry, carry on, carry with, and carry out, the students will conceive a 'galactic proposal', design and produce the objects, then integrate them into a social media campaign that introduces them as young independent designers to the outside world. Emphasis is placed on developing a professional mindset and mission to all aspects of their work. Students are introduced to this though guest professionals in design, fashion, materials experts, and social media gurus. The class is built around making a signature collection through studio work. The class will also explore- Strategies for developing a collection, Basics of a signature brand Understanding market categories, Positioning and differentiation through presentation, Material/ technique demonstrations (both analog and digital), Vendor field trips, Roles of Intellectual Property, Transforming a personal social media identity into a professional presence, Branding objects, How to meet impossible deadlines, Studio photography on a shoestring budget -through demos, field trips, invited guests, intense studio nights, and the knowledge and expertise of faculty with deep experience developing individual design practices.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Professional Practice | 3900 (001) | Beth Roman | Wed
8:30 AM - 11:15 AM In Person |
Description
This course includes guidance on the preparation and design of a resume and business card; the planning, development and design of an online portfolio; interview strategies and techniques; professional connections with practicing designers; and resources and advice for locating and contacting various types of design employers. This course is ideal for visual communication students preparing for internships or seniors preparing for entrance into the design profession. This course may be repeated.
PrerequisitesPrerequisite: VISCOM 3001 and 3011 and a 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Designed Object Portfolio Development Studio | 3900 (001) | Mollie Edgar, Tobey Albright | Thurs
3:30 PM - 6:15 PM In Person |
Description
In this class you will engage in a wide variety of professional practice activities to help prepare you for life after SAIC. In this course, each student will focus on advancing the design (layout, graphics, narratives, flow) of their portfolio so that it best conveys their individual design skills, experience and interests. Students will produce materials appropriate for delivery of their work across multiple formats (print, digital, web, etc), will learn how to edit/ arrange their materials to suit the specific context of application, and will create consistent design elements that can be shared across the full range of professional materials from portfolio, website, business cards, and other promotional materials. The course emphasizes hands-on, real- world professional activities and opportunities for emerging designers. More information about Professional Practice and the Academic Spine curriculum can be found on the SAIC website: http://www.saic.edu/academics/departments/academicspine/
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Designed Object Portfolio Development Studio | 3900 (001) | Mollie Edgar, Tobey Albright | Thurs
3:30 PM - 6:15 PM In Person |
Description
In this class you will engage in a wide variety of professional practice activities to help prepare you for life after SAIC. In this course, each student will focus on advancing the design (layout, graphics, narratives, flow) of their portfolio so that it best conveys their individual design skills, experience and interests. Students will produce materials appropriate for delivery of their work across multiple formats (print, digital, web, etc), will learn how to edit/ arrange their materials to suit the specific context of application, and will create consistent design elements that can be shared across the full range of professional materials from portfolio, website, business cards, and other promotional materials. The course emphasizes hands-on, real- world professional activities and opportunities for emerging designers. More information about Professional Practice and the Academic Spine curriculum can be found on the SAIC website: http://www.saic.edu/academics/departments/academicspine/
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Intermediate Fashion Studio | 3900 (001) | Abigail Maria Glaum-Lathbury, Caroline Marie Bellios | Tues/Thurs, Tues/Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
Intermediate Fashion studio is a co-taught immersive class that furthers the creative and technical development of the ‘thinking and making’ involved in designing tomorrow's fashion. Students build a three look capsule collection based on their personal research, brought alive in shape and material development through garments. In-depth research and personal conviction infuse the conceptual stage, while translating this sensibility into garment concepts requires heightened attention to detail and execution. Students review and develop approaches to express and communicate design concepts, as well as their realization into fashion garments and collections. Throughout, garments and looks are fitted on models in both muslin and fabric.
PrerequisitesStudent must complete FASH 2900, 3001, and 3002 prior to enrollment. |
Class Number |
Credits |
DepartmentLocation |
| Architecture: Ugrd Studio 4 | 3900 (001) | Odile Compagnon | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This two-day core undergraduate design studio focuses on the role of the designer in public life, and the role architecture plays in shaping public life. Students address the legal, ethical, cultural, and political concerns that shape architecture practice through the development of a design project. Students use rigorous representation techniques, achieving a professional level of presentation. Students are expected to complete a professional portfolio and resume, along with their design work. This studio examines issues of program, structure, and building skin to identify how public architecture represents itself as a cultural and political artifact. Rather than understanding architecture as autonomous from its social, cultural, and political environment, the studio posits that architecture must be integrated into the world, be informed by and transforming the social and technical systems that enable our built environments. Students will review and study design approaches to expand their understanding of possibilities about new spatial dynamics informed by emerging social relationships, hybrid conditions and the social shaping of technology. Readings, textual and visual case studies and site visits will vary, but always provide the background and theoretical grounding for the site and project analysis and final project development and portfolio presentation. Project work is a cumulative archive of the process of problem analysis and design exploration that are translations of observations, facts and ideas ? all being made visible through diagrams, drawings and models. Parts of the semesters work will be conducted in groups, in group discussions and workshops and/or site visits; and which will all contribute to individual project work and portfolio development to be presented in a final critique. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Intermediate Fashion Studio | 3900 (001) | Abigail Maria Glaum-Lathbury, Caroline Marie Bellios | Tues/Thurs, Tues/Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
Intermediate Fashion studio is a co-taught immersive class that furthers the creative and technical development of the ‘thinking and making’ involved in designing tomorrow's fashion. Students build a three look capsule collection based on their personal research, brought alive in shape and material development through garments. In-depth research and personal conviction infuse the conceptual stage, while translating this sensibility into garment concepts requires heightened attention to detail and execution. Students review and develop approaches to express and communicate design concepts, as well as their realization into fashion garments and collections. Throughout, garments and looks are fitted on models in both muslin and fabric.
PrerequisitesStudent must complete FASH 2900, 3001, and 3002 prior to enrollment. |
Class Number |
Credits |
DepartmentLocation |
| Internship as Professional Experience | 3900 (001) | Lora Lode |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Professional Performance Practice | 3900 (001) | Joseph Ravens/Rabensdorf | Mon
12:15 PM - 3:00 PM In Person |
Description
How does a performance artist create a sustainable career and create a sustainable community in the world after college? This course will provide the nuts and bolts of how to build a career as a performance artist. We will delve into the politics of curating and representing diverse practices. Students will create their own public performance festivals in public or in site-specific spaces learning the mechanisms of getting funding and writing proposals.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Printmedia Platforms | 3900 (001) | Nia Easley | Mon
12:15 PM - 3:00 PM In Person |
Description
Students will develop professional practices including collaborative and independent work situations, via roles as commissioned artist, master printer, or artist-designer. Students will seek real-world clients to complete assignments, foster relationships with graphic designers, small presses, or their artist peers. Contemporary alternative print production and distribution models such as the integration of art, music and publishing prevalent in DIY scenes (1990s and 2000s), to emerging artist multiple/subscription programs and book/print fairs will be also be studied.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Writing Junior Seminar | 3900 (001) | Jenny Magnus | Wed
6:45 PM - 9:30 PM In Person |
Description
This class will have as its focus the development of support materials and methods for professional practice relating to the work of writers and artists who engage in interdisciplinary projects with writing as a central element. This section is open to both BFAW Program students as well as non-BFAW students who are interested in developing professional practices strategies from that perspective. Across the semester, you will work to generate and fine-tune professional practice support materials such as artist statements and artist resumes, tap into SAIC?s CAPX and research other current online resources for funding, publication and exhibition opportunities, and align and present your body of work in order to further define and articulate central lines of concept and inquiry. Additionally, we?ll discuss assigned relevant readings and meet and speak with a local writer/artist concerning their own body of work and professional practice Course work results in creating professional practice materials supporting a digital portfolio of your work and collaboratively participating in an exhibition and literary reading event.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PTDW Professional Practice Topics | 3900 (001) | Sam Jaffe | Thurs
12:15 PM - 3:00 PM In Person |
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Multi-Level Painting Studio | 3900 (001) | Paola Cabal | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. This course also fulfills the 3900 Professional Practice course requirement. http://www.saic.edu/academics/departments/academicspine/professionalpracticeexperience/
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Junior Seminar: Professional Practice | 3900 (001) | Rachel Herman | Fri
9:00 AM - 3:00 PM In Person |
Description
This six-hour seminar is a professional practice class for life after graduation, focusing on how each student can build a sustainable practice based on their own strengths and working style. Students create a website, CVs, write grant proposals, artist statements, and statements of purpose, learning the different content and uses of each. Readings on contemporary artists and 'best practices' for editing, exhibition, and installation of artwork will support class work. This course embraces the understanding that developing a sustainable practice outside of school includes building creative community, developing an independent research practice and other activities related to each individual’s work. As such, the highlight of this course will be bi-weekly visits and workshops from a diverse range of working artists, curators, residency staff and others to speak about these opportunities, as well as how to build a fruitful creative life. For example, we will develop strategies for talking about your work that fit your own personal style with a Chicago curator, and present grant materials to a mock panel to get productive feedback. The Junior Seminar is one of four required classes intended to function as a 'spine,' providing guidance and structure for SAIC's open and interdisciplinary curriculum.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Artist Formerly Known as Starving: Freelancing Comics and Illustration | 3900 (001) | Beth Kathleen Hetland | Wed
8:30 AM - 11:15 AM In Person |
Description
This seminar introduces and develops professional practices for students pursuing a freelance career in comics, illustration, animation, or the like. By creating promotional material, portfolios, contracts, and invoices, students learn how to market themselves as freelance artists. In tandem with learning the ins and outs of industry standards, they have access to insight and advice from a variety of guest speakers whose careers and professional paths have paved the way for future creators. Readings will vary but typically include 'The Freelancer's Bible: Everything You Need to Know to Have the Career of Your Dreams- On Your Terms' by Sara Horowitz, 'The Graphic Artist Guild Pricing and Ethical Guidelines Handbook,' and 'Burn Your Portfolio' by Michael Janda. Students will create, revise, workshop, and submit a variety of professional documents that culminate in a compendium over the course of the semester. These are all documents that will prove to be necessary for a freelancing career. There will be weekly responses to readings, and rotating guest speakers to provide in-sight on their professional journeys.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| How to be an Artist at Night | 3900 (001) | Jess Atieno Ounga | Tues
12:15 PM - 3:00 PM In Person |
Description
This professional practice course that focuses on preparing for all things life after school. As scaffolding throughout the course we will explore the text, How to be an artist at night by Raqs media collective to explore a range of questions and themes in art practice at the intersection of contemporary life. What constitutes an education for the real world? How do we grow a community that supports and is in conversation with our work? What are the professional skills we need to sustain our practice outside the studio? How do we write about, talk about and present our work? What are the practices of self care we can cultivate to fuel our creativity? Other readings will include teaching to transgress- Bell Hooks, The Artist's Guide: How to make a living doing what you love- Jackie Battenfield, The Social Production of Art- Janet Wolff. We will also watch and respond to short films. Course work will vary but will typically include writing an artist statement, bio and exhibition proposal.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sustainable Practice/Sustainable Life | 3900 (001) | Stacia Laura Yeapanis | Fri
12:15 PM - 3:00 PM In Person |
Description
This professional practice seminar emphasizes sustainability (emotional, economic, and environmental) as key for living artists. Each student will develop a sustainable work flow for organizing opportunities, documenting expenses, and applying for exhibitions, grants and residencies. Emphasis will be placed on sustainable material sourcing, both for environmental concerns and our own economic needs. Discussions and readings will revolve around how to keep making art, even when life gets in the way. Students will learn practical skills that serve their work (tweaking artist statements for various opportunities, developing and maintaining a website, ongoing research ) along with stress-management techniques (organized work flow, time-management, knowing when to take a break and how to rest more effectively, peer-to-peer support, dealing with rejection). This course will address the myriad ways studio artists get paid outside the commercial gallery system via recorded interviews with living artists. Readings include 'Art and Fear' (David Bayles and Ted Orlando) and 'Artists Gotta Eat and Other Things We Forget to Remember' by Tempesst Hazel. Past Visiting Artists have included Selina Trepp, who uses and reuses the material in her studio, and Sadie Woods, who is an artist, curator and DJ. Similar Visiting Artists will be chosen in future semesters. Each student will create a personal opportunities database, create a submission for the opportunity of their choice, write an artist statement, bio and CV, build a portfolio website, give an artist talk and develop a sustainable plan for sourcing materials and managing stress.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Self Care In The Age Of Hyper Productivity | 3900 (001) | kg Gnatowski | Wed
8:30 AM - 11:15 AM In Person |
Description
We all have something that we do to offset stress and practice care for the self, be it jogging, knitting, reading, or meeting with friends. Care is a radical action. This course will look at care for the individual and care for the community as a strategy for art-making in the studio. Students will discuss self-care strategies that work for them and bring those strategies into the studio. The culminating project will be presenting a plan of action for continued self-care at SAIC and beyond with concrete examples of these strategies at play in the student's studio work. Students will work on a series of small sample projects throughout the semester in preparation for a final presentation of a finished piece. We will look to alternative models of evaluation and build our own unique dynamic approach to critiquing these pieces. Students will practice self-care by participating in the class reading group to discuss texts including All About Love by Bell Hooks, Emergent Strategy by Adrienne Marie Brown, Conversation with Mike Kelley, Keith Harring's Journals, Eva Hesse's notes and more. Texts will be selected to best reflect the student's interests and studio practices. We will look at artists and practitioners who bring care into their work across disciplines including Shana Moulton (film and performance), Aram Han Sifuentes (craft and participation), H. Melt (poetry and writing), Adrian Piper (research) and more. Students will be asked to contribute significantly to an extended bibliography of care for the class to share beyond the Spring semester. This course includes weekly text discussions, small group critiques on sample pieces and culminates in a full class critique of a self directed final project. Ideas for this project will be supported through individual meetings with the instructor and visiting guest self care experts.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Practices of Art and Design Education in Schools and Communities: Teens and Adults | 3900 (002) | S. Bailey Jacobson | Fri
9:00 AM - 3:00 PM In Person |
Description
Relating contemporary and traditional artmaking approaches and culturally responsive pedagogy with curriculum, project, and instructional design methods, this course provides prospective teachers and teaching artists with knowledge and skills needed to structure learning experiences through which children and youth in elementary schools, middle schools and community settings enhance their creativity, develop technical skills, understand a range of artmaking practices, make personally meaningful works, and explore big ideas. Course participants will structure teaching plans that identify students’ prior knowledge, scaffold learning, use multiple teaching and learning strategies to promote student engagement and differentiate instruction to meet the needs of all students. They will learn to articulate clear and verifiable core learning objectives, select relevant national and state standards and design assessments that capture essential student learning without standardizing students’ artworks. Teacher reflection based on critique, student input and assessment data will be used in an iterative process of editing and redesigning curriculum. Connecting visual and verbal literacies, prospective teachers will make use of reading, writing and speaking activities that engage students in interpreting art and analyzing visual culture as well as using picture books as a source of inspiration for their personal storytelling and artmaking. Teachers will learn to select and/or develop reading level-appropriate art and culture readings to support learning. Studying a range of art education practices will provide teacher candidates with theoretical perspectives from which to build their own unique pedagogical approaches. Readings include works by Maria Montessori, Viktor Lowenfeld, Anne Thulson, Lisa Delpit, Vivian Paley, and Sonia Nieto as well as overviews of Reggio Emelia, Teaching for Social Justice, Teaching for Artistic Behavior, Studio Habits, Visual Thinking Strategies and Principles of Possibility Course assignments will include readings and discussion responses and researching artists, artmaking approaches and pedagogical practices as well as writing project and lesson plans accompanied by teacher artwork examples, image presentations, readings, assessments, and other instructional materials, as well as documenting plans and student artworks. Participants will teach small groups of students in elementary schools with English Language Learners. All student must complete and pass Chicago Public Schools Background Check.
PrerequisitesMust complete ARTED 3015, ARTED 3021 and any 2900 course |
Class Number |
Credits |
DepartmentLocation |
| (Re)Defining Success as an Artist | 3900 (002) | C. C. Ann Chen | Tues
12:15 PM - 3:00 PM In Person |
Description
In this course, students will explore and create their own definitions of success, starting with their preconceived notions of what it means to be a successful artist. We will break down outdated expectations and myths and will rebuild unique, personal, and fulfilling plans for a creative life. Through writing, mentoring, and research students will explore career paths and what it means to live the flexible and nuanced life of an artist. We will investigate a number of topics and tools that support a career in the arts, including: mind-mapping, goal-setting, creating professional materials (CV, statement, bio), applying to professional opportunities such as grants and residencies, studio visits, and working with galleries. Course material will include artists’ personal accounts of leading a creative life and tools they use to make projects more rich. This course involves numerous written assignments; students must be prepared to write and edit their work. Students will choose from a vast menu of short projects in order to tailor their experience in the class to their career goals. Final assignments will include 1) a clear personal vision of success; 2) steps for achieving short and long-term goals, and 3) refined professional materials suitable for application.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Architecture: Ugrd Studio 4 | 3900 (002) | Nathan Rennich, Adel Machacca | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This two-day core undergraduate design studio focuses on the role of the designer in public life, and the role architecture plays in shaping public life. Students address the legal, ethical, cultural, and political concerns that shape architecture practice through the development of a design project. Students use rigorous representation techniques, achieving a professional level of presentation. Students are expected to complete a professional portfolio and resume, along with their design work. This studio examines issues of program, structure, and building skin to identify how public architecture represents itself as a cultural and political artifact. Rather than understanding architecture as autonomous from its social, cultural, and political environment, the studio posits that architecture must be integrated into the world, be informed by and transforming the social and technical systems that enable our built environments. Students will review and study design approaches to expand their understanding of possibilities about new spatial dynamics informed by emerging social relationships, hybrid conditions and the social shaping of technology. Readings, textual and visual case studies and site visits will vary, but always provide the background and theoretical grounding for the site and project analysis and final project development and portfolio presentation. Project work is a cumulative archive of the process of problem analysis and design exploration that are translations of observations, facts and ideas ? all being made visible through diagrams, drawings and models. Parts of the semesters work will be conducted in groups, in group discussions and workshops and/or site visits; and which will all contribute to individual project work and portfolio development to be presented in a final critique. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Architecture: Ugrd Studio 4 | 3900 (002) | Nathan Rennich, Adel Machacca | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This two-day core undergraduate design studio focuses on the role of the designer in public life, and the role architecture plays in shaping public life. Students address the legal, ethical, cultural, and political concerns that shape architecture practice through the development of a design project. Students use rigorous representation techniques, achieving a professional level of presentation. Students are expected to complete a professional portfolio and resume, along with their design work. This studio examines issues of program, structure, and building skin to identify how public architecture represents itself as a cultural and political artifact. Rather than understanding architecture as autonomous from its social, cultural, and political environment, the studio posits that architecture must be integrated into the world, be informed by and transforming the social and technical systems that enable our built environments. Students will review and study design approaches to expand their understanding of possibilities about new spatial dynamics informed by emerging social relationships, hybrid conditions and the social shaping of technology. Readings, textual and visual case studies and site visits will vary, but always provide the background and theoretical grounding for the site and project analysis and final project development and portfolio presentation. Project work is a cumulative archive of the process of problem analysis and design exploration that are translations of observations, facts and ideas ? all being made visible through diagrams, drawings and models. Parts of the semesters work will be conducted in groups, in group discussions and workshops and/or site visits; and which will all contribute to individual project work and portfolio development to be presented in a final critique. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Painting Is a Thing With Feathers: The Circulation | 3900 (002) | Matt Morris | Thurs
3:30 PM - 6:15 PM In Person |
Description
In this course, you will be provided with practical and analytic tools with which to engage in an art world that extends globally and is deeply enmeshed in digital platforms. Each artist's relationship to this field is produced through our personal desires, hopes, assumptions, and ideas of success: articulating this highly individual profile will serve as our starting place. From there, we will consider the ways paintings and other art objects become data that is circulated, analyzed, and commodified. Through an examination of the networks- cultural, social, and economic- that characterize the present-day fields of art, we will develop strategies for building professional relationships, self-promotion, and presenting your work in public settings. Approaches to websites, artwork documentation, writing (bios, CVs, artist statements, modes of art criticism), business cards, budgeting, packing and shipping artwork, and studio upkeep will be covered in the form of class lectures and discussions, supplemented with homework assignments. The outcomes of this course are manifold: artists will make informed, researched decisions about the ways they want to participate in the world, while also learning basic skillsets as best practices for a sustainable, long-term career.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Practices of Art and Design Education in Schools and Communities: Teens and Adults | 3900 (003) | Melita Morales | Fri
9:00 AM - 3:00 PM In Person |
Description
Relating contemporary and traditional artmaking approaches and culturally responsive pedagogy with curriculum, project, and instructional design methods, this course provides prospective teachers and teaching artists with knowledge and skills needed to structure learning experiences through which children and youth in elementary schools, middle schools and community settings enhance their creativity, develop technical skills, understand a range of artmaking practices, make personally meaningful works, and explore big ideas. Course participants will structure teaching plans that identify students’ prior knowledge, scaffold learning, use multiple teaching and learning strategies to promote student engagement and differentiate instruction to meet the needs of all students. They will learn to articulate clear and verifiable core learning objectives, select relevant national and state standards and design assessments that capture essential student learning without standardizing students’ artworks. Teacher reflection based on critique, student input and assessment data will be used in an iterative process of editing and redesigning curriculum. Connecting visual and verbal literacies, prospective teachers will make use of reading, writing and speaking activities that engage students in interpreting art and analyzing visual culture as well as using picture books as a source of inspiration for their personal storytelling and artmaking. Teachers will learn to select and/or develop reading level-appropriate art and culture readings to support learning. Studying a range of art education practices will provide teacher candidates with theoretical perspectives from which to build their own unique pedagogical approaches. Readings include works by Maria Montessori, Viktor Lowenfeld, Anne Thulson, Lisa Delpit, Vivian Paley, and Sonia Nieto as well as overviews of Reggio Emelia, Teaching for Social Justice, Teaching for Artistic Behavior, Studio Habits, Visual Thinking Strategies and Principles of Possibility Course assignments will include readings and discussion responses and researching artists, artmaking approaches and pedagogical practices as well as writing project and lesson plans accompanied by teacher artwork examples, image presentations, readings, assessments, and other instructional materials, as well as documenting plans and student artworks. Participants will teach small groups of students in elementary schools with English Language Learners. All student must complete and pass Chicago Public Schools Background Check.
PrerequisitesMust complete ARTED 3015, ARTED 3021 and any 2900 course |
Class Number |
Credits |
DepartmentLocation |
| (Re)Defining Success as an Artist | 3900 (003) | kg Gnatowski | Mon
8:30 AM - 11:15 AM All Online |
Description
In this course, students will explore and create their own definitions of success, starting with their preconceived notions of what it means to be a successful artist. We will break down outdated expectations and myths and will rebuild unique, personal, and fulfilling plans for a creative life. Through writing, mentoring, and research students will explore career paths and what it means to live the flexible and nuanced life of an artist. We will investigate a number of topics and tools that support a career in the arts, including: mind-mapping, goal-setting, creating professional materials (CV, statement, bio), applying to professional opportunities such as grants and residencies, studio visits, and working with galleries. Course material will include artists’ personal accounts of leading a creative life and tools they use to make projects more rich. This course involves numerous written assignments; students must be prepared to write and edit their work. Students will choose from a vast menu of short projects in order to tailor their experience in the class to their career goals. Final assignments will include 1) a clear personal vision of success; 2) steps for achieving short and long-term goals, and 3) refined professional materials suitable for application.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentLocation |
| Writing and Art Direction for Animation | 3900 (041) | Kate Stransky | Mon
12:15 PM - 3:00 PM In Person |
Description
This course teaches students how to use language creatively and practically in the development of animated media. As well as the role of art direction in the development of animation works. Students will develop skills in writing for the animated short, in relation to dialogue and visual description, treatments, and full scripts. The class will also cover in-depth art direction and pre-production. The goal of this class is to make students literate in the use of language and visuals in the creation of their work, as well as the utilization of these skills in professional animation studios. The class will also cover skills like pitching stories, writing project proposals and creating look books, decks etc.. Books will include; Writing for Animation, Comics, and Games by Christy Marx; Art Direction for Film and Video by Robert Olson Students will complete a series of assignments, based on their own ideas, and adapting existing texts, as well as each other’s writing into visuals. The class will culminate in a final project proposal that will contain a script, synopsis, and visual art direction for an animated work.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Internet Artware | 3900 (042) | Nimrod Astarhan | Wed
12:15 PM - 3:00 PM In Person |
Description
The web browser is a blank canvas, through code we can conjure up any kind of preexisting and not yet invented screen based media. It is also an art studio, equipped with tools for making hypertext, interactive video, 2D and 3D animation, electronic music, sound sampling and synthesis, mixed reality (AR/VR), artificial intelligence and so much more. The browser is also a place to share our work, collaborate with others and explore all manner of interesting cultural activity. In this course we will produce Artware (software art) for any kind of Internet connected device (mobile phones, laptops, VR headsets, Raspberry Pi, IoT, etc) by learning to code in the Internet's de facto programming language: JavaScript. We will be examining (through screenings, readings and interaction) the work of artists, designers and developers who both celebrate and criticize the promises and perils of our digital age. We will chat with alumni working professionally as Internet artists and creative technologists, through virtual visits as well as physical trips to local creative development agencies like IDEO and Digital Kitchen. The first part of the semester will be spent working on individual experiments as we learn the basics of Internet programming. Students will then conceive and pitch project concepts to each other, before spending the later part of the semester collaborating on open-source artware leveraging the same tools (git, GitHub) and processes (Agile, Scrum) used by professionals. We will learn how to properly document and present software projects online as well as how to maintain a professional creative code portfolio. We will also learn to use libraries/APIs (for virtual reality, artificial intelligence, hypermedia, etc) pertaining to the specific type of project we choose to work on.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Scenography | 3920 (001) | Odile Compagnon | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course, students will be introduced to techniques by which they can design environments (spaces, performances, exhibits, architecture, interiors, landscapes) with strong potential 101 narrative, storytelling, memories Borrowing from the theater, to animation, puppetry, stop motion or urban spectacle, the course will teach ways in which lighting, movements, interactivity, space hierarchy can make nonfigurative concepts accessible to wide audiences, A digital approach will be merged with analog fabrication and scaled prototyping of props and physical environments. Chicago will serve as text book, Field trips to performances , outdoor spectacles, screenings , exhibition will be the teaching tools to understand light, scale, interaction between participants Readings and videos by Peter Brook, Jeremy Till, Olafur Eliason, Patrick Bouchain will set the stage for conversations about minimalism, technology, and the importance of details when telling a story through space. Four short design assignments. inspired by the readings and field trips, will teach students the basics of orthographic projection, scale, additive and subtractive color mixing, materials, computer assisted design, and encourage them to apply their own making and designing skills to creating environments that resonate wilh a strong voice.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Scientific Illustration | 3921 (001) | Margaret Macnamara | Tues
9:00 AM - 3:00 PM In Person |
Description
This class will begin with a demonstration on traditional drawing techniques used to illustrate scientific material. Students will develop pencil and ink renderings as well as watercolor illustrations of animal, plant and insect species. Work will also include relevant habitat and scale information. Each Class will include a lecture and /or visit behind the scenes to a lab at the Field Museum. Working scientists will expose the students to common collection methods as well as specimen preparation such as bird and mammal taxidermy. Course work will be described at the beginning of each class. Midterm critiques, small groups of 5, will determine and promote individual projects to be presented in the Final Critiques.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Natural History Illustration | 3922 (001) | Olivia Petrides | Mon
9:00 AM - 3:00 PM In Person |
Description
This course deals with painting plants, birds, reptiles and mammals. Botanical structure and basic anatomy are covered, as well as specific morphological information on textures, scales, feathers, and fur. Classes are held at the Lincoln Park Zoo, the Garfield Park Conservatory, the Chicago Botanic Garden (Fall Semester only) and the Field Museum of Natural History. We tour and work with specimens in the Field Museum research areas as well as work in the public collections. The most difficult part of this class is drawing a moving creature. Tackling this issue at the zoo enables the student to understand structure in the light of behavior and physical action. The importance of seeing and drawing live animals cannot be underestimated. Watercolor and gouache are used, so basic painting methods, color mixing, color layering and spatial dynamics are emphasized. This is an excellent class in which to improve observational skills. A point of departure for the course will be historical scientific illustrators such as Maria Sybilla Meriam, John James Audubon, Louis Agassiz Fuertes, as well as contemporary artists and illustrators like Walton Ford and Alexis Rockman. There is a new assignment each class, with many examples on an assignment sheet provided for guidance. There is a group critique every week, with discussion of how each student solved problems of accurate representation. Students are expected to have 10 excellent pieces by the end of the semester, to be presented at the final critique.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Painting Studio | 4001 (001) | Robert Burnier, Sam Jaffe, Dan Devening | Mon/Tues/Wed
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Robert Burnier, Sam Jaffe, Dan Devening | Mon/Tues/Wed
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Robert Burnier, Sam Jaffe, Dan Devening | Mon/Tues/Wed
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| CAPX Internship - UG | 4001 (001) | Joshua Rios |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
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Class Number |
Credits |
DepartmentLocation |
| Gen Sem:Poetic Forms of Brevity | 4001 (001) | Nathan Hoks | Wed
12:15 PM - 3:00 PM In Person |
Description
They say brevity is the soul of wit, and in some definitions, it’s also an essential characteristic of lyric poetry. In this course, we’ll read diverse examples of relatively brief poetic forms, such as epigrams, aphorisms, haikus, tankas, prose poems, golden shovels, duplexes, and sonnets. We’ll also consider the way short forms can be linked to form longer, iterative poetic sequences. Finally, we’ll also practice revising poems for economy: that is, cutting as many words as possible from every draft. Using our readings, students will try out several short forms, revise work, and complete short critical writing exercises.
PrerequisitesPrerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor. |
Class Number |
Credits |
DepartmentLocation |
| CAPX Internship - UG | 4001 (002) | Anna Laure Kielman |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
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Class Number |
Credits |
DepartmentLocation |
| GS: Cont. Poems & Their Making | 4001 (002) | Elise Paschen | Tues
8:30 AM - 11:15 AM In Person |
Description
In this generative seminar you will produce a new poem a week based on writing prompts as well as discuss poems and their genesis by contemporary poets included in The Eloquent Poem: 128 Contemporary Poems and Their Making. This anthology is inspired by classes Paschen has taught at SAIC and includes the work of our most influential contemporary poets such as Joy Harjo, Cornelius Eady, Martin Espada, Billy Collins, Kimiko Hahn and Marilyn Nelson, as well as poems by debut writers, including former SAIC students. Your weekly writing prompts will include aubades & nocturnes, ars poeticas, litanies, ekphrasis, prose poems, mirror poems, concrete poems and collage poems. The class is open to students exploring any genre.
PrerequisitesPrerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor. |
Class Number |
Credits |
DepartmentLocation |
| Gen Sem:Narrative & Conflict | 4001 (003) | Todd S. Hasak-Lowy | Thurs
12:15 PM - 3:00 PM In Person |
Description
From an early age we learn that conflict is a necessary ingredient in any compelling story. But what exactly is conflict? This course will investigate this question at length, primarily through close readings of short stories. Among the questions we will explore: What must a writer do with a conflict once it has been introduced? Does a conventional short story have only one conflict, or are multiple (perhaps interwoven) conflicts common? What exactly does it mean to satisfactorily resolve a conflict? And must a conflict, or must all conflicts, be resolved for a narrative to satisfy? Most of our stories will be written by contemporary writers, such as Charles Yu, Etgar Keret, Edward Jones, David Means, Alice Munro, and Lydia Davis, along with earlier writers, such as Leo Tolstoy, Virginia Woolf, and John Cheever. This course will balance readings with writing exercises and student workshops, and will be run primarily through class discussions.
PrerequisitesPrerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor. |
Class Number |
Credits |
DepartmentLocation |
| CAPX Internship - UG | 4001 (003) | Lora Lode |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
|
Class Number |
Credits |
DepartmentLocation |
| CAPX Internship - UG | 4001 (004) | Danny Floyd |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
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Class Number |
Credits |
DepartmentLocation |
| Advanced Sculpture: Interdisciplinary Projects | 4002 (001) | Rebecca Keller | Tues
3:30 PM - 9:15 PM In Person |
Description
This advanced, interdisciplinary course provides a generative space for developing and understanding creative projects through the discourse of the field of Sculpture. Students in this course come together from various departments to enrich the content of their work through critique and conversation with Sculpture faculty and other advanced level students from across the school. Weekly readings inform the development of self-directed creative projects which form the basis for discussion and may form the basis for a thesis body of work.
PrerequisitesPrerequisite: 3 credits SCULP 2000 or SCULP 3000-level; open to Juniors and Seniors only. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Photography/Individual Projects | 4003 (001) | Jan Tichy | Tues
9:00 AM - 3:00 PM In Person |
Description
This class concentrates on self-initiated work with an emphasis on student-drivencreative research and intensive project development. Students explore inventive ways to present work while experimenting with different strategies to deliver relevant contextual information. Independent work is reinforced with ongoing group discussions exploring broader issues around how artists and artworks communicate a complex of meanings. This class supports the production of a focused body of work and can be taken multiple times as well as in conjunction with Senior Capstone in preparation for your BFA exhibition. Models of open-ended creative research, production and professional engagement is explored in readings, screenings and discussions. Class activities include combinations of lectures, discussions, workshops, critiques, independent work time and individual meetings. Students are expected to set personal goals while working through a single project or set of concerns for the entire semester to advance work that demonstrates technical facility and expanded knowledge of the conceptual underpinnings of the ever-evolving fields of contemporary photography and visual culture. Participants refine statements and proposals, employ creative approaches to editing a body of work in preparation for presentation in various venues and formats while developing a broader understanding of how to support the promotion of the work.
PrerequisitesPrerequisite: 9 credits of PHOTO 3000-level classes. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Woven Structure | 4003 (001) | Kira Keck | Mon
9:00 AM - 3:00 PM In Person |
Description
This intensive studio course will focus on weaving and its relation to the evolving landscapes of contemporary art, cultural production, and identity. Working with multi-harness floor looms, students will engage rigorous conceptual questions in abstraction, figuration, sculptural form, spatial intervention, performative action, technology, and language to develop a mature body of woven work. Vocabulary will be expanded through the study of complex woven constructions, digital drafting, and dye processes. Feminist, queer, and decolonial approaches to weaving will be introduced and encouraged. Designed for advanced students, this course engenders an interdisciplinary weaving practice by blurring the boundaries between fiber, critical craft, painting, material culture, sculpture, textile history, architecture, and technology studies. Students will consider the history and the future of the field through a varying roster of artists including significant figures such as Sheila Hicks, Lenore Tawney, Magdalena Abakanowicz, and Olga de Amaral alongside contemporary generations such as Sonya Clark, Miguel Arzabe, Diedrick Brackens, Erin M. Riley, Josh Faught, Samantha Bittman, and Cecilia Vicuña. This work will be supported by texts that typically include Anni Albers, Legacy Russel, T'ai Smith, Julia Bryan-Wilson, and César Paternosto. Critical discussion of core texts and individualized research will occur in tandem with weekly studio activity. Students will produce a series of studies and 2 - 4 fully realized woven works that will be developed through in-process discussions and presented in major critique settings. This course facilitates self-directed investigation of concept and technique in hand weaving.
PrerequisitesFIBER 2002 or Junior & above |
Class Number |
Credits |
DepartmentLocation |
| Sound Projects | 4003 (001) | Nicolas Collins | Thurs
12:15 PM - 3:00 PM In Person |
Description
Students pursue individual projects which are critiqued in class, with occasional individual meetings as needed. Discussions include aesthetics and history of sonic arts as relevant to the work students bring in, concepts of critical listening, and technical issues speciHcally related to student projects (but this is not a course in general studio technique). Active participation in all critiques is expected. Students will be given access to only those studios that they have already used in previous sound courses. Open to students working with sound in other media (Hlm/video, installation, performance, etc.), as well as with ?pure sound?. This class is an occasion for students with advanced sound skills to receive critique (and course credit) for their work. Examples of sound work by other artists, as well as readings, are brought in as prompted by issues in student work. Students should expect to produce a body of work consisting of 3-5 finished pieces during the semester. In addition, the professor may assign a few compositional or technical exercises.
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Class Number |
Credits |
DepartmentLocation |
| Studio Practice: Printmedia | 4004 (001) | Peter Power | Tues
9:00 AM - 3:00 PM In Person |
Description
Designed for advanced-level Printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. Students accepted into this section will be given an undergraduate studio in the 280 Building. Please note that during class time, students in this section don't have access to any print facilities other than their studio space. Application is required for consideration.
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Class Number |
Credits |
DepartmentLocation |
| Advanced Printmaking | 4004 (002) | Anna Laure Kielman, Jina Valentine | Thurs, Thurs, Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
Designed for advanced-level printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. Application is required for consideration.
|
Class Number |
Credits |
DepartmentLocation |
| Advanced Printmaking | 4004 (002) | Anna Laure Kielman, Jina Valentine | Thurs, Thurs, Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
Designed for advanced-level printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. Application is required for consideration.
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Class Number |
Credits |
DepartmentLocation |
| PS:Dragging Performance | 4005 (001) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
This course will consider the ways in which performance practices can be queered - particularly through the lens of drag performance. While we will cover a selection of queer theory texts, a history of drag performance both in and out of the US, and consider contemporary examples of drag artists or artists employing drag in their work throughout the semester, students will not be expected to perform in drag (unless they so desire to!). Rather this course will encourage students to use drag as a conceptual and/or practical framework for thinking about and generating live performance work. We will think about the idea of the mask or the filter as a means for materializing personas or “altered/enhanced” states of performing, a “bodied” presence and playing with the gaze. We’ll explore how drag can encourage us to harness the anecdotal and moments of extreme intimacy, hypervisibility and vulnerability as well create distance and opacity. Image making, music/sound, text, movement and time will all be equal ingredients in our work. Drag is in constant mutation, always reflecting/confronting society and politicizing the body; this should encourage us to understand the ways in which we can hold up performance as a mirror to the world around us. Some examples of artists, groups and texts we will look at will include Sin Wai Kin, Glitch Feminism by Legacy Russell, The Chicago Black Drag Council, Zorroridrag, Pacha Queer, Drag: A British History, Joan Jett Blakk, Vaginal Davis, Audre Lorde’s Uses of the Erotic: The Erotic As Power, Linda Simpson’s Drag Explosion, Meredith Heller’s Queering Drag.
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Class Number |
Credits |
DepartmentLocation |
| Brave N3w B0d1es : Posthuman Practices | 4005 (001) | Lee Blalock | Mon
9:00 AM - 3:00 PM In Person |
Description
This course will focus on cybernetics and embodiment through the lens of the posthuman, connecting us with the vast array of disciplines that contribute to the DNA of this field. This is the place where new images, sounds, language, and identities emerge through experimental studio techniques centered around self-directed evolution. Students will be introduced to relevant concepts though weekly discussions on the topics of space travel, medical breakthroughs, survival suits, and artistic interpretations of the cyborg. Readings will vary throughout the semester and will include topics such as embodiment, hybrid identities, body modification, and fleshy data. Essays and articles will be curated from the following texts: Posthuman Glossary edited by Rosi Braidotti and Maria Hlavajova; The Cyborg Handbook edited by Chris Hables Gray; and The Journal of Posthuman Studies: Philosophy, Technology, Media edited by Stefan Lorenz Sorgner & James Hughes. Students can expect to spend each week discussing assigned readings, engaging in brainstorming workshops, and following along with skill-based demonstrations. Assignments include 2 projects and 1 presentation on a topic relevant to the course.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Fiber and Material Studies Studio | 4005 (001) | L Vinebaum, Danielle Andress | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event.
PrerequisitesOpen to students at Junior level and above. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Fiber and Material Studies Studio | 4005 (001) | L Vinebaum, Danielle Andress | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event.
PrerequisitesOpen to students at Junior level and above. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Throwing | 4005 (001) | Dylan Palmer | Mon
9:00 AM - 3:00 PM In Person |
Description
This course will serve to illuminate and complicate the opportunities and challenges associated with making ceramics on the throwing wheel. Invented in Mesopotamia roughly 5000 years ago, the potter's wheel was a tool intended to speed up and increase consistency in the production of utilitarian ceramic vessels. The spectrum of practitioners using the potters wheel today spans the world and ranges from traditional artisans, design and crafts people to contemporary artists. Working with regard to this dynamic reality, this course will work to address and accommodate all manner of interests with the goal to enable students to make diligent use of the potter?s wheel, both in consideration of historical and contemporary methods and dialogs. Advanced Throwing is for students already proficient in throwing techniques Pre rec. Wheel Throwing Fundamentals and Intermediate Throwing CER We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Yuta Segawa, Dove Drury, Adam Silverman, Donte K. Hayes, Carl-Harry St?lhane, Gerrit Grimm, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Jenni Sorkin, Okakura Kakuzo and Edmund de Waal Students should expect to produce two bodies of work consisting of 20-30 finished pieces during the semester, to be presented in mid-term and final critiques.
PrerequisitesMust have completed one of CER 1001, CER 1012, CER 2005, CER 3000, CER or 3010 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Print for FMS in the Expanded Field | 4007 (001) | Jess Atieno Ounga | Fri
9:00 AM - 3:00 PM In Person |
Description
This class enables students to develop personal conceptual concerns and expand their existing knowledge of a range of print processes within the expanded field of FMS. Independently guided projects will be based on students' proposals and the development of conceptual inquiries in conjunction with appropriate methods and material. Students will advance their printing techniques at it relates to their individual directions. Advanced techniques include; large scale, repeat structures, color layering, CMYK and experimental alternative processes. The relevance of screen-printing, what it offers the expanded field of contemporary art/design practice and issues of display and installation will be discussed and explored. Students work within the communal studios that are FMS (print, dye, and sewing labs, and the Textile Resource Center) creating a foundational peer driven atmosphere. Writing will be practiced and discussed in relation to an artist statement and project proposals. Student driven research guides project development and is supported with critiques, readings and exhibition visits. Students present finished and in-process work at several critiques over the course of the semester.
PrerequisitesFIBER 2004 or Junior & above |
Class Number |
Credits |
DepartmentLocation |
| Off-Campus Study | 4008 (001) |
In Person |
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Description
In consultation with Study Abroad, undergraduate students may spend up to two semesters (30 credit hours) at approved partner schools, or at another Association of Independent Colleges of Art and Design (AICAD) school in North America. Various types of credit can be earned depending on the host school?s offerings. Approval from Study Abroad is required. The process has two steps; the student first submits an application and portfolio to Study Abroad and it is reviewed by a faculty panel. If approved to proceed, the student then applies to the proposed host school. Information and resources about International Exchange, AICAD Exchange, and Tuition Transfer programs are available at Study Abroad.
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Class Number |
Credits |
DepartmentLocation |
| Site Practice | 4008 (001) | Erica R. Mott | Tues
3:30 PM - 9:15 PM In Person |
Description
As we move through the world, we encounter a variety of images and forms. These images and forms cover the gamut: we experience objects with varying and diverse formal properties and social meanings; we see individuals, groups, as well as non-human beings engaging these objects and each other, and in turn enacting various processes. We organize normative actions, spaces, and processes to varying degrees of consciousness, from everyday habitual actions to overtly conscious rituals and performances. Within these moments of reflexivity, within these frames, we will consider the role of site and context in the production of culture. Through an investigation of various sites (the white cube, the domestic space, wilderness or nature, and public space) we will consider the above concepts through performative actions.
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Credits |
DepartmentArea of StudyLocation |
| Comics Narratives: Illness, Disability and Recovery | 4010 (001) | Bianca Xunise | Wed
12:15 PM - 3:00 PM In Person |
Description
This course explores narratives of illness, stigma, and marginalization told through comics and graphic novels. Students engage in reading, discussing, and making comics dealing with topics of physical and psychiatric illness, caregiving, and recovery. The current 'graphic medicine' movement, applications of comics in art therapy, and graphic novels and comics dealing with narratives of illness outside of a therapeutic or medical context are discussed and used as inspiration to generate content for student projects.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: LGBTQ+ Intergenerational Production | 4010 (001) | Adam J Greteman | Mon
12:15 PM - 3:00 PM In Person |
Description
This studio seminar is centered around intergenerational queer art-making within the context of The LGBTQ+ Intergenerational Dialogue Project, which is a partnership between The Senior Services Program at The Center on Halsted and faculty members Adam Greteman and Karen Morris of SAIC. This spring course is run as a workshop in which students focus on intergenerational creative production with LGBTQ+ elders. Classes will be held at both SAIC and Center on Halsted. Students and elders will share a meal together after class meetings at Center on Halsted, and take at least one field trip together. A range of artists, works, scholars, and activist groups will be introduced during the first third of the course as students get to know one another and the purpose of the course. This will potentially include the following: Marlon Riggs, Lesbian Avengers, Chase Joynt, ACT-UP, Ron Athey, S.T.A.R., Paul Preciado, E. Patrick Johnson, Mickalene Thomas, and others. Over the course of the latter 2/3rd of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Each small group decides on topic(s) and medium(s) while working with the instructors to create a list of relevant readings, films, and/or podcasts they will engage as part of the research and production process. Over the course of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Final projects might take the form of visual art, video, oral history, photography, writing, a podcast, or something else. This work will be showcased on the project’s website (generationliberation.com) and have the potential to be expanded into a range of other educational resources.
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Class Number |
Credits |
DepartmentLocation |
| Top:Gilles Deleuze | 4010 (001) | Patrick Durgin | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course offers an introduction to the thought of the French philosopher Gilles Deleuze (1925-1995). Deleuze was one of the 20th century?s most influential critical theorists, almost single-handedly revising the reputation of Nietzsche in France, critiquing psychoanalysis in its postmodern heyday, and devising new approaches to ontology, leftist political theory, and literary and art theory. To this day, his concepts are frequently deployed in critical theory of all kinds, especially those concepts he developed in collaboration with activist and psychoanalyst Felix Guattari. Such concepts have even been accused of radical chic, and he remains a frequently cited but ?difficult? author to read. This course provides an introduction to the reading of Deleuze?s work. The goal of the course is to familiarize you with the contours of his career and acquaint you with his peculiar style of writing. It also acquaints you with a (very) few subsequent elaborations on Deleuzian thought. The course is structured into units corresponding to the core notions of becoming, encounter, schizoanalysis, and the rhizome. A fifth unit pursues Deleuze?s involvement with aesthetics and models some ways of applying Deleuzian thought. Expect to read much of Deleuze's own writing, critical reflections on it by Thomas Hirschorn and Elizabeth Grosz, among others..., and then to write two substantial essays elaborating on this material, attempting to make it serve your own interests as artists, historians, etc.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Ethnography | 4010 (001) | Karen Morris | Wed
12:15 PM - 3:00 PM In Person |
Description
This course explores the anthropological methods employed in ethnographic fieldwork and analysis. Students acquire a critical and historical knowledge of the range of research methods in cultural anthropology. In addition, they gain personal experience in designing an ethnographic research project, conducting fieldwork, and analyzing findings. We examine classic and contemporary ethnographic texts and films and discuss the theoretical foundations underlying ethnography, ethical issues within ethnographic research, and key debates around fieldwork as a method of knowledge production.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top: LGBTQ+ Intergenerational Production | 4010 (002) | Adam J Greteman | Mon
12:15 PM - 3:00 PM In Person |
Description
This studio seminar is centered around intergenerational queer art-making within the context of The LGBTQ+ Intergenerational Dialogue Project, which is a partnership between The Senior Services Program at The Center on Halsted and faculty members Adam Greteman and Karen Morris of SAIC. This spring course is run as a workshop in which students focus on intergenerational creative production with LGBTQ+ elders. Classes will be held at both SAIC and Center on Halsted. Students and elders will share a meal together after class meetings at Center on Halsted, and take at least one field trip together. A range of artists, works, scholars, and activist groups will be introduced during the first third of the course as students get to know one another and the purpose of the course. This will potentially include the following: Marlon Riggs, Lesbian Avengers, Chase Joynt, ACT-UP, Ron Athey, S.T.A.R., Paul Preciado, E. Patrick Johnson, Mickalene Thomas, and others. Over the course of the latter 2/3rd of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Each small group decides on topic(s) and medium(s) while working with the instructors to create a list of relevant readings, films, and/or podcasts they will engage as part of the research and production process. Over the course of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Final projects might take the form of visual art, video, oral history, photography, writing, a podcast, or something else. This work will be showcased on the project’s website (generationliberation.com) and have the potential to be expanded into a range of other educational resources.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top: Automatic for the People | 4010 (003) | Kristi Ann McGuire | Tues
6:45 PM - 9:30 PM In Person |
Description
In 1976, as noted by a recent Viewpoint Magazine piece, Johnny 'Guitar' Watson, a former sessions player for Frank Zappa, whose landmark West Coast funk compositions effortlessly fused his auto-theoretical 'gangster of love' persona with post-soul, pre-discotheque blues guitar, released the eponymous single from his album Ain't That A Bitch the same year Milton Friedman won the Nobel Prize in Economics. And I quote: Everything is outta pocket! / Somebody do something! / The present situation is abstract! In 2015, James Franco committed to film the character 'Alien,' purportedly based on real-life Houston-based rapper Riff Raff (who has a giant tattoo on his chest of Bart Simpson holding a beaker that reads,'The Freestyle Scientist'). Right around the time of Friedman's victory speech (titled 'Inflation and Unemployment,' and dedicated to the memory of Alfred Nobel), Dr. Funkenstein (George Clinton, the 'cool ghoul with the funk transplant') and his Holy Mothership began to hover around a new consumer class of Thumpasorus peoples, just as Parliament-Funkadelic's cosmological dispersion mirrored another kind of outsourcing?paraphrasing here, but why not put the jobs someplace they've never been perceived to be, like a spaceship. Funk, then the history of automation, then aliens. The shared history isn't some mute-poetic post-automatic ontological flirtation: it's embedded in Kurt Vonnegut's first novel Player Piano, and intertwined with the anomie registered by the twentieth century's increasing alienation of assembly line workers and e-commerce representatives. In 1963, Detroit autoworker and Marxist activist James Boggs wrote The American Revolution: Pages from a Negro Worker's Notebook, about his experiences on the Chrysler assembly line, where he presupposed a new generation of the working class made obsolete by advances in heavy labor automation, left without a body to sell or their own labor-power to broker the deal. How did blip blip Marx's Labor Theory of Value 010101 Space is the Place Where I Go All Alone take us through deregulated technocratic neoliberalism and to the other side: via the simulated proprietary satellite mapping that Curtis Mayfield may or may not have fever-dreamed in 'Diamonds in the Back'? We know that it knows the Waze to your Uber Pool's rendezvous with the Awesome Power of a Fully Operational Mothership (T.A.P.O.A.F.O.M.). 'Abdul Jabar couldn't have made these prices/with a sky hook.' Long story short: funk emerged in the waning days of Fordism's hold on the American economy, before drums largely lived in machines and workers were brokered out of politics. Funk parallels Jimmy Hoffa, Wattstax, the death of Henry Ford's crony Harry Bennett, the arguments of Jefferson Cowrie's Last Days of the Working Class, Dock Ellis throwing a perfect game on LSD, the goddamned Deer Hunter, stagflation, the threat of nuclear annihilation and concerts mounted against such, pro-labor PACs, Betty Davis's 'Politician Man,' two energy crises, the Business Roundtable Lobby, Bootsy Collins dropping acid and flipping over the handlebars of his road bike in the middle of the woods triggering an out of body experience, and good ol' monetarist theory. P-Funk's Mothership is now in the Smithsonian Museum. 'Strike on Computers!,' as Watson suggested. I once climbed through a window of the abandoned Studebaker-Packard Plant one Detroit afternoon in 1996 and cut my foot on a shard of glass perhaps manufactured in the form of a Pepsi bottle at the Mack Avenue warehouse two blocks away or two decades before. I bled for a while through an anklet, but then we listened to the Fugees cover Roberta Flack's 'Killing Me Softly' on someone's CD of The Score (playback technology developed by the Advent Corporation) the rest of the ride home.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Exhibition Prosthetics | 4010 (004) | Joseph Grigely | Tues
12:15 PM - 3:00 PM In Person |
Description
Where does an artwork begin & end? Where does an exhibition begin & end? Is an exhibition solely about the materialization of specific works of art, or is it also—and if so, in what ways—about the various conventions that go into the making of exhibitions—which include press releases, announcement cards, checklists, wall labels, catalogues, and digital-based media? Conventions like these are representations. We engage in different kinds of representations both because of the implausibility of re-presenting, and also because representation is a means by which we further, through the use of language and images, and through a process that is both otherwise and otherhow, the reach of the real. In this respect, moving closer to the artwork involves moving away from the artwork--to look closer at fringes and margins and representations, and ask a very fundamental question: to what extent are these various exhibition conventions actually part of the art--and not merely an extension of it? While the course is experiential and practical, it also explores conceptual issues underpinning the relationship between curatorial and creative practice. The class is open to both graduate and undergraduate students interested in curating across many historical periods, as well as BFA and MFA students interested in the ways exhibitions create contexts for their work, and how they might participate in the construction of these contexts.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Top:Ethnography | 4010 (005) | Karen Morris | Wed
12:15 PM - 3:00 PM In Person |
Description
This course explores the anthropological methods employed in ethnographic fieldwork and analysis. Students acquire a critical and historical knowledge of the range of research methods in cultural anthropology. In addition, they gain personal experience in designing an ethnographic research project, conducting fieldwork, and analyzing findings. We examine classic and contemporary ethnographic texts and films and discuss the theoretical foundations underlying ethnography, ethical issues within ethnographic research, and key debates around fieldwork as a method of knowledge production.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Bodymind Extensions: Deviance, Disability/Illness Narratives and Haptic Memories | 4011 (001) | Chun-Shan (Sandie) Yi | Tues
12:15 PM - 3:00 PM In Person |
Description
This experiential class is designed for artists who wish to develop a studio practice with a focus on the deviant bodymind histories and the representation of disability/illness narratives. Including perspectives both inside and outside of an artistic, therapeutic, and/or medical context. Students will learn to integrate disability aesthetics (Sieber, 2010), critical “knowing-making” (Hamraie, 2017), crip technoscience (Hammraie and Fritsch, 2019), Crip Couture (Yi, 2020) and other disability art and design concepts and practices in their work. Students who are interested in the following area of practice/discipline might benefit from taking this course: art therapy and counseling, design object, fashion design, visual critical studies and fiber and materials studies. Artists/designers/theorists that may be referenced in the course include Panteha Abareshi, Kristina Veasey, Laura Splan, Rebecca Horn, Harriet Sanderson, Sins Invalid, Daniel Moraes, Lisa Bufano, Aimi Hamraie, Kelly Fritsch, Tobin Siebers. Students will create artworks that serve as an “extension” of their bodymind state. “Extensions” can include but are not limited to body adornments; wearable designs; physical, emotional or psychological aids; relational/interactive performances. Students will explore and choose media that reflect the wearer’s (and or participant’s) haptic memories and experiences of deviancy. Light reading, lectures, class discussions, gallery visits and visiting artist’s talk will provide inspiration for students to develop their project.
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Credits |
DepartmentArea of StudyLocation |
| Advanced Finishings and Detail Seminar | 4013 (001) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
This studio class will focus on refinement and finishings in the production of garments by the senior fashion student. Advanced draping, patternmaking and finishing techniques will be explored and mastered as the students complete their semester's work for exhibition.
PrerequisitesFASH 2900 Pre-req |
Class Number |
Credits |
DepartmentLocation |
| The Art Market: Contemporary & Historical Perspectives | 4014 (001) | Silvia Beltrametti | Fri
12:15 PM - 3:00 PM In Person |
Description
This course examines the relationship between art and the market, by exploring the economic, cultural and institutional processes that shape the meaning and value of art. Using examples drawn from the art trade in ancient Rome, collections formed during theRenaissance, art acquired by young aristocrats during their ?Grand Tour?, the market for modern art in the first half of the twentieth century, and the billion dollar contemporary art business with a specific focus on China, this course explores the relationship between artists and patrons, patterns of shifting taste, the role of dealers and the impact of auction houses on art collecting. We will also test the boundaries of the meaning of ?market? by looking at artwork acquired as a consequence of wartime looting, ethnic cleansing, or through forced exchanges. Students willread historical texts and scholarship connecting the process of artistic creation and the trade industry, and engage in the sustained analysis of individual artworks, as well as the market structures in which such artworks were produced and bought. Primary sources will include excerpts from the work of Cicero, Giorgio Vasari, Denis Diderot. Readings will among others include chapters from Georgina Adam, 'The dark side of the BOOM'; Michael Findlay, 'The Value of Art'; Isabella Graw 'High Price'; Olav Velhuis 'Talking Prices'; and, Clare McAndrew, 'The Art Economy'. I will share recorded interviews with arts professionals and collectors - but we will also meet a number of them in person. In-class film screening: the Price of Everything. In-class participation including weekly response comments to the readings (30%); an in-class case study presentation (10%); and a 15 page paper on a selected artwork (60%).
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Art Market: Contemporary & Historical Perspectives | 4014 (001) | Silvia Beltrametti | Fri
12:15 PM - 3:00 PM In Person |
Description
This course examines the relationship between art and the market, by exploring the economic, cultural and institutional processes that shape the meaning and value of art. Using examples drawn from the art trade in ancient Rome, collections formed during theRenaissance, art acquired by young aristocrats during their ?Grand Tour?, the market for modern art in the first half of the twentieth century, and the billion dollar contemporary art business with a specific focus on China, this course explores the relationship between artists and patrons, patterns of shifting taste, the role of dealers and the impact of auction houses on art collecting. We will also test the boundaries of the meaning of ?market? by looking at artwork acquired as a consequence of wartime looting, ethnic cleansing, or through forced exchanges. Students willread historical texts and scholarship connecting the process of artistic creation and the trade industry, and engage in the sustained analysis of individual artworks, as well as the market structures in which such artworks were produced and bought. Primary sources will include excerpts from the work of Cicero, Giorgio Vasari, Denis Diderot. Readings will among others include chapters from Georgina Adam, 'The dark side of the BOOM'; Michael Findlay, 'The Value of Art'; Isabella Graw 'High Price'; Olav Velhuis 'Talking Prices'; and, Clare McAndrew, 'The Art Economy'. I will share recorded interviews with arts professionals and collectors - but we will also meet a number of them in person. In-class film screening: the Price of Everything. In-class participation including weekly response comments to the readings (30%); an in-class case study presentation (10%); and a 15 page paper on a selected artwork (60%).
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Class Number |
Credits |
DepartmentLocation |
| Retro Tech: Restoration and Preservation | 4014 (001) | Lee Blalock | Tues
12:15 PM - 3:00 PM In Person |
Description
What happens to an electronic or computer-based artwork if it fails during an exhibition? Who cares for a digital piece in a collection when the technology that supports that work is outdated? How do artists address the death of the media on which their work relies? This course will focus on preserving and restoring technology-mediated artworks through case studies, practical workshops, guest speakers, and an interdisciplinary research approach. We will discuss exhibitions focused on archiving and preserving technology-mediated artworks and the specific problems facing the artists and the museum staff when showing this work. We'll hear from artists and curators about the challenges and opportunities in maintaining electronic and digital art, historical or contemporary, and study project notes and texts from exhibition catalogs. We'll read about efforts to address the needs of computer-based artworks from a research perspective and look closely at the interdisciplinary approach required to solve technical problems. Practical workshops will focus on repair and restoration skills. Students should expect to talk with students, faculty, and exhibition staff in and around campus in an effort to learn about the way artwork is created, installed, maintained, and archived. Weekly course work will vary but will typically include readings, workshops, a mid-term, and a final project in the form of case studies.
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Credits |
DepartmentArea of StudyLocation |
| Digital Jacquard Weaving: Zeroes and Ones II | 4017 (001) | Danielle Andress | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom. Utilizing Photoshop and Jacquard weaving software, students realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom's use of punched cards and the history of computers is central to the course, as is the contemporary use of the loom as a new media tool. Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is required for this course. This course is a continuation of FIBER 3017.
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Credits |
DepartmentLocation |
| Knowledge Lab: Craft Ecologies | 4018 (001) | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
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Description
Knowledge Lab: Craft Ecologies will trace the life cycles of materials from their genesis in the earth to utility in human hands. In this studio seminar, students will take up traditional craft practices in a contemporary art context to explore entanglements between the natural and human-built worlds. Using the 280-Building’s living laboratory as a classroom and research site, we will look closely at the complex systems which bring material into being. We will undertake readings and research, learn from makers and miners, forage Chicago clay, and grow our own fibers. Through these investigations, we will consider the correspondence between maker and material in the age of the Anthropocene.
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Credits |
DepartmentArea of StudyLocation |
| Anxious Media Ecologies: Anxiety and/as Technology of Resistance | 4018 (001) | Garrett Johnson | Tues
3:30 PM - 6:15 PM In Person |
Description
In this seminar, our touchstone is the manifesto “We are All Very Anxious” by The Institute for Precarious Consciousness (2014), which suggests a notion of anxiety as intersectional. Taking up their injunction that we need to build “machines for fighting anxiety”, students will situate their art practice to pursue a research question intervening between the social and the psychic, the ecological and the cultural. Through a blend of seminar discussion, research, workshop, tutorial, we will examine and engage contemporary techniques that help us to ask what anxiety is in 2022, what it does, and most importantly, what it could do. Students should be prepared to exercise their metier towards new ends. The course pairs traditions of theorizing anxiety with modes of artistic inquiry such as critical making, speculative design, and hyperstition. We explore the psychopolitical moblizations of anxiety in readings from authors such as Byung Chul Han and Renata Salecl as as a technological reading of anxiety in Gilbert Simondon’s philosophy of technology, and the relationship between technology, the environment, and mind through Felix Guattari. Technical tutorials will introduce interactive art, computer vision, and machine learning techniques in p5*js and Max/MSP/Jitter relevant to student interests. Students should expect to complete readings and a project for each of the three areas. Instructor will give technical tutorials, but students should bring existing computational or technological skills to the course which they build in parallel with the development of projects.
PrerequisitesPrerequisite: ARTTECH 2101 or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Micro/Macro Textiles: Artist Research | 4018 (001) | Isaac Facio | Sat
1:00 PM - 3:45 PM In Person |
Description
This seminar will use the Textile Resource Center of the Department of Fiber and Material Studies as source material to explore artist research practices. An emphasis will be placed on slow looking and hands-on study of objects to gain an understanding of textile and fiber structures, material choices, modes of fabrication and production, while assessing larger frames of cultural context, meaning and metaphor. Through thoughtful guided close observation, we will learn about the complex lives of objects and the stories that they tell us to inspire and act as a foundation for our own creative work. Classroom guests will include artists and scholars from areas in conservation, science and technology, and anthropology to extend our perspectives in how we view and understand objects. We will take field trips to Chicago area museums and collections, and also address topics in collections care, exhibition, installation, curation, and collections management. Students will be expected to develop studio work, written research, and class presentations. Exploring these materials through drawing, notation, photography, video, live action, and remaking will be considered.
PrerequisitesPrerequisite: Sophomore-level or above. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Sculptural Practices Studio | 4020 (001) | Kelly F. Kaczynski, Stephen Reber | Mon/Tues
9:00 AM - 3:00 PM In Person |
Description
This course provides a forum for in depth critiques and exploration of students' individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. Enrolled students will be assigned a studio space in the Columbus building. A maximum of 15 students will be admitted per semester. Enrollment is by application only.
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Class Number |
Credits |
DepartmentLocation |
| Advanced Sculptural Practices Studio | 4020 (001) | Kelly F. Kaczynski, Stephen Reber | Mon/Tues
9:00 AM - 3:00 PM In Person |
Description
This course provides a forum for in depth critiques and exploration of students' individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. Enrolled students will be assigned a studio space in the Columbus building. A maximum of 15 students will be admitted per semester. Enrollment is by application only.
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Class Number |
Credits |
DepartmentLocation |
| Heavy Cardboard: Designing Boardgames | 4020 (001) | Stephen Farrell, Jacob Ristau | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores boardgame design as an expression of data visualization and user interface (UI) within a play environment. Teams of students will develop their chosen research areas into fun, strategic, well-crafted integrations of theme, game mechanics and world order. Resource management will provide a framework for developing mechanics, while playtesting and prototyping will drive teams’ iterative process. The only way to truly understand how boardgames work is to play boardgames and analyze the play experience. To this end, much of our in-class time will be spent 1.) playing existing games that highlight certain game mechanics and levels of difficulty, and 2.) repeatedly play-testing each others' evolving games. How does each game immerse us? Do their themes come forth and flow through the game mechanics? Are they fun, unpredictable, balanced? How does each one situate its players in a point of view? How does graphic design facilitate immersion and theme and an understanding of structures and actions. Lectures, team presentations, and individual team meetings with teachers will supplement game play. The course will begin with one-week studio exercises focused on theming, game mechanics and visualization techniques for boardgames. Over the semester, teams of students will research, design and prototype a Eurostyle boardgame of their choosing. The final will include a prototype of the game, rulebook, and overview teach video.
PrerequisitesStudent must have completed one of VISCOM 3002/3045/4535/4590, or be a graduate student. |
Class Number |
Credits |
DepartmentLocation |
| Heavy Cardboard: Designing Boardgames | 4020 (001) | Stephen Farrell, Jacob Ristau | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores boardgame design as an expression of data visualization and user interface (UI) within a play environment. Teams of students will develop their chosen research areas into fun, strategic, well-crafted integrations of theme, game mechanics and world order. Resource management will provide a framework for developing mechanics, while playtesting and prototyping will drive teams’ iterative process. The only way to truly understand how boardgames work is to play boardgames and analyze the play experience. To this end, much of our in-class time will be spent 1.) playing existing games that highlight certain game mechanics and levels of difficulty, and 2.) repeatedly play-testing each others' evolving games. How does each game immerse us? Do their themes come forth and flow through the game mechanics? Are they fun, unpredictable, balanced? How does each one situate its players in a point of view? How does graphic design facilitate immersion and theme and an understanding of structures and actions. Lectures, team presentations, and individual team meetings with teachers will supplement game play. The course will begin with one-week studio exercises focused on theming, game mechanics and visualization techniques for boardgames. Over the semester, teams of students will research, design and prototype a Eurostyle boardgame of their choosing. The final will include a prototype of the game, rulebook, and overview teach video.
PrerequisitesStudent must have completed one of VISCOM 3002/3045/4535/4590, or be a graduate student. |
Class Number |
Credits |
DepartmentLocation |
| Botanical Revolutions: The Emergence of Plants in Contemporary Art | 4021 (001) | Giovanni Aloi | Thurs
12:15 PM - 3:00 PM In Person |
Description
Plant?s perceived passivity and resilient silence have relegated the vegetal world to the cultural background of human civilization. However, the recent emergence of plants in the gallery space is an invitation to reappraise this relationship at a time of deep ecological and social crisis. This course focuses on plants to unravel histories of colonialism, address gender biases, racial discrimination, and social injustice. We explore how artists and scholars working at the intersection of art, science, philosophy, and indigenous knowledge are rethinking our relationships with plants in order to envision more sustainable and fairer futures. This course proposes a rich, diverse, and multicultural perspective on the many roles plants play in our lives. It inlcudes lectures, close readings, screenings, museum visits, discussions, collaborative coursework, and contributions by Chicago-based organizations working with local communities and plants. The work of scholars and artist Yota Batsaki, Elain Gan, Vivien Sansour, Vandana Shiva, Mogaje Guihu, Anna Tsing, Monica Gagliano, Eduardo Kac, Jamaica Kinkaid, Derek Jarman, Wangari Maathai, Zayaan Khan, Kapwani Kiwanga, Maria Thereza Alves, Shela Sheikh, Michael Marder, Monica Galliano, Rashid Johnson, Uriel Orlow and many more will provide students with a comprehenisve and global and very contemporary perspective on the subject. Coursework includes weekly reading responses, a formal/final research paper, a test, and a presentation.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Keywords: Art and Justice | 4023 (001) | Risa Puleo | Mon
6:45 PM - 9:30 PM In Person |
Description
This course adopts the form of Raymond Williams?s Keywords: A Vocabulary of Culture and Society to build a vocabulary for abolition. Each week, students will be presented with a pair of related terms that occupy different positions on an ideological spectrum or historical continuum. These keywords include: abolition and reform, punishment and restoration, justice and ethics (and aesthetics); chattle slavery and prison slavery; mass incarceration and prison-industrial complex; human and animal; fugitivity and freedom, and more, all the while learning from artists who use their work as an opportunity for intervening into the criminal justice system and reading texts that relate the history of our current justice system and present practical and theoretical alternative to it. We will also consider the difference between assessment and grading in our collective imagining of an abolitionist pedagogy and artistic / art historical practice. The aim of the course is to help students articulate their positions and investments in relation to their own work and social structures. The artists that we will consider in this course include: Josh Begley, Zach Blas, Chandra McCormick and Keith Calhoun, Jamal Cyrus, Chris Burden, Martin Wong, Tirtza Even, Andrea Fraser, Maria Gaspar, Danny Giles, Coco Fusco and Guerillermo Gomez Pena, Suzanne Lacy, Ashley Hunt, Richard Kamler, Titus Kaphar, Kapwani Kiwanga, Autumn Knight, Deana Lawson, Shaun Leonardo, Prison and Neighborhood Art Project, Trevor Paglen, Jenny Polak, Carl Pope, Jr., Laurie Jo Reynolds, Sherrill Roland, Cameron Rowland,Gregory Sale, Dread Scott, Sable Elyse Smith, Tamms Year Ten, and more. The thinkers we will read include: Frank Wilderson, Angela Davis, Sadiya Hartman, Jared Sexton, Fred Moten and Stefano Harney, Denis Childs, Kelly Michelle Lyte, Michelle Alexander, Sylvia Wynters, Shawn Michelle Smith, Elizabeth Alexander, Rashaad Shabazz, Simone Brown, Michel Foucault, Tony Bennett, Douglas Crimp, and more. Assignments center around the ?intervention? as a concept that links academic writing to direct action campaigns. Weekly assignments include identifying the intervention in the week?s reading and generating discussion questions in advance of class. Throughout the semester, students will also write their own definitions of their choice of keywords. Culminating assignments include a presentation and a final paper (12-15 pages).
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Screenwriting | 4025 (001) | John Petrakis | Fri
3:30 PM - 6:15 PM All Online |
Description
Advanced Screenwriting is designed for students who have completed Beginning Screenwriting, or its equivalent, and are interested in pursuing the art and craft of feature-length screenwriting. The entire semester will be devoted to the completion of the first draft of one feature-length script by each student. All ten students in the class will be working on their own individual scripts, and by reading them aloud during class in a workshop structure, complete with post-reading discussion, it will allow students to participate in the creation of not just one, but ten, feature-length scripts. Since Advanced Screenwriting is first and foremost a writing class, requiring copious amounts of scripting and drafting, there will be no formal reading or viewing assignments. However, throughout the semester, the professor will recommend books or films that will assist in the development or completion of the students' first drafts. For instance, a film such as Aki Kaurismaki's 'Ariel' will be referenced as an example of how to develop powerful themes in a relatively short amount of screen time. Students are required to complete the first draft of a feature-length screenplay, approximately 90-110 pages. Completion of the draft, and a final thumbs-up by the teacher, are required to pass the course.
PrerequisitesPrerequisite: FVNM 3024 or FVNM 3124. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Furniture 3:Advanced Furniture (SP) | 4026 (001) | Casey C. Lurie | Fri
9:00 AM - 3:00 PM In Person |
Description
Within a structured studio environment, advanced-level students develop, refine, and execute an individual furniture concept. Students progress from the conceptual design stage, through design development to the actualization of a work that can be `tested? for public review. Students are challenged to develop concise and persuasive arguments regarding the motivation, development, execution, and dissemination of their design project. Through the articulation and advocacy of their design work, students define their role as a dynamic catalyst operating within real-world social-, political-, monetary-, and cultural-economies. Students are admitted via a portfolio application reviewed by the faculty.
PrerequisitesDESOB 4025 |
Class Number |
Credits |
DepartmentLocation |
| Handmade Cinema II | 4027 (001) | Tatsu Aoki | Tues
3:30 PM - 9:15 PM In Person |
Description
The class is designed as an advanced independent project for students who have taken Handmade Cinema to further enhance and develop their work involving motion picture and moving image processing and mechanisms. Students work on their existing projects and are required to finish or produce images. Instruction and weekly meetings are held throughout the semester. All students are given access to JK Optical Printer, Digital Printer, Oxberry Optical Printer and Contact Printer Model C and other production tools and machines. The works can be generated as physical films or digital media. Some outside work is also required. Additionally, a final project presentation is due at the end of the semester. Review and reading assignments will be given. Weekly individual meetings and few class meetings will be held.
PrerequisitesPre FVNM 3027 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Papermaking | 4027 (001) | Andrea Peterson | Sat
10:00 AM - 4:00 PM In Person |
Description
This course will instruct advanced students to explore personal concepts through projects utilizing traditional methodology and contemporary paper art processes to create new works of art in a unique medium. The contemporary processes will include pulp imaging, watermarking, fiber manipulation through restraint drying, as well as others processes discovered by the individual artists by trial by extensive studio work. The malleability of the material will allow new methods of making, created at the moment, due to the nature of the individual projects at hand. Since this a fairly new and unique field of studio work We will review and discuss professional artists and studios working in the field of paper arts through websites, images, writings and professional reviews, such as David Hockney’s pool series using pulp imaging as medium, Lesley Dill’s using it as a type of performative language and Arlene Shechet’s utilizing the medium to create maps of ritual places into sculptural forms embodying reliquary and vessel as figure. We will have group critiques as well as individual critiques to assist in the creation of a body of work. Students will participate in 3 critiques toward a progressive completion of a body of artwork.
PrerequisitesOpen to students at Junior level and above. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Facilitating as Creative Practice | 4029 (001) | Adelheid Mers | Fri
12:15 PM - 3:00 PM In Person |
Description
It is becoming increasingly clear that facilitating is a widely present practice across the arts. Facilitation draws on performance modalities, while also engaging more broadly with design, sculpture, music, language, and gaming in their intersections with co-operative, social and community building practices. Facilitation emerges in cross-fertilization with practitioners’ experience as artists, and also as arts educators, therapists, mediators, and administrators, roles that already include designing and deploying communicative systems. Activist and Applied theater practices have long pioneered facilitative work. Artist Shaun Leonardo's performance-based workshops are a recent example of a facilitating practice that is both participatory and generates works. Gabrielle Civil's Experiments in Joy are an example of facilitating collaboration and community expansion. Community organizing and urban planning in the work of Rick Lowe and Theaster Gates facilitate structural opportunity and socio-political discourse. Facilitation additionally draws on cognitive, social and political theory, mitigating economic and epistemic violence, reframing research methodology, enacting participatory sense-making, complicating narrative and translation, and more. Participatory configurations outside of theaters, such as laboratories, workshops and interventions are becoming more common as integral parts of work with ideas, objects or performance, even as institutions may be grappling with how to accommodate them. Our course research, curatorial or artistic projects may explore the following questions: Who designs a facilitation process, and why? Which kind of experience goes into it? Which desire? Which cooperation? What is the role of a facilitator? Who agrees to participate in a facilitation setting, and why? How might we name or more precisely describe facilitating? Also, how is facilitating generative? Does it relate to game, play, and improvisation? Does it enhance creativity? Does it support organizing and institutional imagination? Can facilitation be embedded in an object, a structure, a notation, or an algorithm? How does it affect relations among humans? Which literatures and theories, which artistic practices are currently being articulated? What are predecessors?
PrerequisitesMust be a senior or above to enroll, juniors can request permission number |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| We'll Fix It In Post: Postmodernism, Poststructuralism, Posthumanism | 4030 (001) | Seth Kim-Cohen | Tues
12:15 PM - 3:00 PM In Person |
Description
What the heck is postmodernism? Why does it matter? This course will provide detailed answers to these questions while also reviewing crucial interventions in related 'posts' such as poststructuralism and posthumanism. We will examine the systems of thought that predate these posts – modernism, structuralism, humanism – in order to identify how and why thinkers and artists felt the need to push past these systems, inventing new ones. We will trace these legacies into our own moment of contested values and malleable truth in order to seek insights into how to live, make, and think in the twenty-first century. This course is reading-heavy and the readings are heavy readings. We will explore the most influential theorizations of the postmodern from writers including Jean-François Lyotard and Frederic Jameson. We will also read the heavy-hitters of poststructuralism and posthumanism. Folks like: Jacques Derrida, Judith Butler, Donna Harraway, Gilles Deleuze, Katherine Hayles, Michel Foucault, Roland Barthes, and Julia Kristeva. Course work will include weekly reading responses, intensive class discussion, and a final paper.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Emerging Worlds Studio | 4030 (001) | Eric Allan Hotchkiss | Fri
9:00 AM - 3:00 PM In Person |
Description
The goal of this class is to design services, tools, and objects that will shape a new reality of human experience. The class will explore how long-term trends in urban migration, automation, AI, big data, climate change, food, and mixed experience will transform our day-to-day lives. Through research and experimentation, students will investigate the realities and possibilities of these conditions and consider how they will change what we eat, how we work and relax, what we wear, how we gather, and how we travel. As a living laboratory, students will use a variety of media, including digital fabrication, virtual reality, and physical storytelling, to create new design tools, scenarios, worlds, services, objects, and experiences. To accomplish this, students will research the historical, political, technological, ecological, and cultural trends of a particular topic.
PrerequisitesAny 4 Designed Objects classes or grad student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Artist Archive and Legacy - SITE Galleries Archive | 4031 (001) | Thurs
12:15 PM - 3:00 PM In Person |
|
Description
In this interdisciplinary studio-seminar, students will work with SITE Galleries and its archive. Founded in 1994, SITE, once known as the Student Union Galleries (SUGs), is a student-run organization at the School of the Art Institute of Chicago (SAIC) for the exhibition of student work. SITE was created as a response to the lack of spaces on SAIC's campus to accommodate the display of student work. Since then, SITE has had the support of faculty advisors and staff and has supported the professional development of roughly 80 student staff members, produced over 260 exhibitions, and has served more than 850 student artists. For more details about SITE Galleries, visit the following link - https://sites.saic.edu/sitegalleries/# This class will join the legacy celebration of SITE's 30th anniversary and will work with SITE's archive to support the efforts of bringing it to a publicly accessible stage while understanding the archival needs of the paper-based collection of ephemera, promotional materials and digital documentation. The main aim of the class is to conduct assessments of the materials condition and physical and digital needs. The class will culminate in the creation of an exhibition, and based on conversations with the SITE staff, the class will work as a team to learn about approaches to managing collections, working with archives and developing an exhibition. Students will have hands-on experience in curating an archival exhibition while learning about installation techniques, exhibition design and art handling. The class is an opportunity to activate one of SAIC's archives while activating a network of past SITE members who are now key actors in the art ecosystem. The class will include an active participation of previous SITE members as guests to the class and field trips to the arts organizations where they currently work or their studios. The class readings and critical content will include material that addresses a range of curatorial approaches focusing on specific institutional examples alongside the work of particular curators and experimental interpretation approaches to presenting archival research.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Artist Archive and Legacy - SITE Galleries Archive | 4031 (001) | Thurs
12:15 PM - 3:00 PM In Person |
|
Description
In this interdisciplinary studio-seminar, students will work with SITE Galleries and its archive. Founded in 1994, SITE, once known as the Student Union Galleries (SUGs), is a student-run organization at the School of the Art Institute of Chicago (SAIC) for the exhibition of student work. SITE was created as a response to the lack of spaces on SAIC's campus to accommodate the display of student work. Since then, SITE has had the support of faculty advisors and staff and has supported the professional development of roughly 80 student staff members, produced over 260 exhibitions, and has served more than 850 student artists. For more details about SITE Galleries, visit the following link - https://sites.saic.edu/sitegalleries/# This class will join the legacy celebration of SITE's 30th anniversary and will work with SITE's archive to support the efforts of bringing it to a publicly accessible stage while understanding the archival needs of the paper-based collection of ephemera, promotional materials and digital documentation. The main aim of the class is to conduct assessments of the materials condition and physical and digital needs. The class will culminate in the creation of an exhibition, and based on conversations with the SITE staff, the class will work as a team to learn about approaches to managing collections, working with archives and developing an exhibition. Students will have hands-on experience in curating an archival exhibition while learning about installation techniques, exhibition design and art handling. The class is an opportunity to activate one of SAIC's archives while activating a network of past SITE members who are now key actors in the art ecosystem. The class will include an active participation of previous SITE members as guests to the class and field trips to the arts organizations where they currently work or their studios. The class readings and critical content will include material that addresses a range of curatorial approaches focusing on specific institutional examples alongside the work of particular curators and experimental interpretation approaches to presenting archival research.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Public Light and Space | 4032 (001) | Jan Tichy | Thurs
9:00 AM - 3:00 PM In Person |
Description
Public Light and Space examines concepts and develops plans for art projects based on light, space and public interaction. The projects are conceptualized and planned in response to the opportunities afforded by specific locations around the city of Chicago. Particular attention is focused on elements such as digital light projection, controlled light sources, and light-responsive materials. The course investigates concepts and understandings of public space and the history of art in these spaces. The class offers a critical examination of the active role played by light and its dynamics in selected art movements. A series of technical workshops builds proficiency to lend support to the development of the final, publicly exhibited project. Visiting artists, critics and Chicagoans assist in refining the project ideas, as they are being chosen and developed.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Public Light and Space | 4032 (001) | Jan Tichy | Thurs
9:00 AM - 3:00 PM In Person |
Description
Public Light and Space examines concepts and develops plans for art projects based on light, space and public interaction. The projects are conceptualized and planned in response to the opportunities afforded by specific locations around the city of Chicago. Particular attention is focused on elements such as digital light projection, controlled light sources, and light-responsive materials. The course investigates concepts and understandings of public space and the history of art in these spaces. The class offers a critical examination of the active role played by light and its dynamics in selected art movements. A series of technical workshops builds proficiency to lend support to the development of the final, publicly exhibited project. Visiting artists, critics and Chicagoans assist in refining the project ideas, as they are being chosen and developed.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art and Spirituality | 4039 (001) | Donato Loia | Thurs
3:30 PM - 6:15 PM In Person |
Description
Throughout human history, a pervasive belief in spirits, gods, and divine forces has profoundly influenced cultures, leaving an indelible mark on their customs and artistic expressions. This course adopts a broad approach, anchored in the selection of artifacts and artworks from the AIC collection. These pieces will serve as portals into a spectrum of theistic and nontheistic spiritual traditions. We will place particular emphasis on sections of the AIC dedicated to the Arts of Africa, Arts of the Americas, and Arts of Asia. Additionally, we will delve into the evolving concept of spirituality in art from the 20th century onwards, with particular attention given to the early 20th century (1900-1950). The culminating project for this course entails the creation of a 10-15 page research paper. Throughout the semester, students will also engage in concise object-based written exercises and participate in museum group presentations.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Multiples | 4040 (001) | Nancy Fleischman | Fri
9:00 AM - 3:00 PM In Person |
Description
In their work students will consider the possibilities of 'multiples' as duplicate, copy, replica, counterfeit, translation, group, growth, repetition, representation, pattern making, modular system, edition, progression, mutation, doppelganger, imitation, clone, reproduction, sequence, symbolism, mass production, additions over time and more. What does it mean to create in Multiples? Why make so many at this point in time when we live in a world where we already have so many objects? These are just some of the questions that the class will take on. All techniques in conjunction with clay will be used in this class. However, there will be demonstrations on making multiple part molds and slip casting, jiggering, glaze and surface manipulation. Some artist that we will study in this course include Paul Cummins, Rachel Kneebone, Caroline Slotte, Susan York, Richard Shaw, Wendy Walgate, Alexandra Englelfriet, Edmund de Waal, Walter McConnell, Bonnie Kemske, Hella Jongerius, Belinda Blignaut, Janet Deboos, Gabriel Orozco, Alissa Volchkova, Dylan Beck. Readings will come from a variety of sourse some of which might include Thinking Through Craft by Glen Adamson, Vitamin C: Clay and Ceramic in Contemporary Art by Clare Lilley and CRAFT edited by Tanya Harrod, The White Road by Edmund De Waal. This course will allow students to create two self-directed projects. Students should to be able to produce a one and two part mold on their own upon the completion of this class.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Interface and Interaction: Design Experiences | 4041 (002) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
What are the factors that drive a product designer’s practice, and how do user empathy, Design Thinking, and human-centered design create effective, navigable experiences? In this course, students will analyze atomic theory, research design systems, and deploy responsive products using tools that generate semantic code. A critical examination of interaction trends, from service design to multi-channel narratives, will uncover the complexities of architecture, journey mapping, microinteractions, and animation. Students will deploy code to a live environment for quality assurance and audience-based usability testing. Readings and screenings typically include Brad Frost, author of Atomic Design, as the primary point of departure. The class will also examine works, tutorials, and interviews with Nicholas Felton from Apple, Elizabeth Churchill at Google, Vlad Magdalin from Webflow, and Dylan Field at Figma. Resources for students will include access to Mobbin.com as well as Apple’s Human Interaction Guidelines (HIG) and Google’s Material 3. Tutorials will also be provided for Lottie animation, 3D Spline, and advanced content management systems. Coursework will vary but typically includes weekly tutorial exercises, creation of digital artifacts like journey maps, an individual midterm project, and an individual final project. Critiques will be screen-based on a variety of devices, including projector, desktop, tablet and/or handset.
PrerequisitesMust have completed VISCOM 3001 or be a VISCOM PBACC/MFA Student |
Class Number |
Credits |
DepartmentLocation |
| Interiority | 4050 (001) | Kimberly Ayala Najera | Thurs
6:45 PM - 9:30 PM In Person |
Description
This seminar will explore definitions and characteristics of interiority, historically and theoretically. It is not a survey of interiors but an exploration of the condition of interiority, physically, experientially and culturally. Physically, interiority is the product of boundaries and the tension of boundaries defined; experientially we spend the majority of our lives 'inside'. Culturally and psychologically, it implies habitation, the way we exist within inhabited space, how we negotiate boundedness and openness and the relationship between ourselves and spaces. The seminar will examine these conditions, looking particularly at the challenges to the notion of the interior offered by new technologies. The course will be conducted as an open seminar with presentations by faculty and students, and will form a basis for the self-development of critical and analytical skills in terms of exploring interior spaces, both literally and metaphorically.
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Class Number |
Credits |
DepartmentLocation |
| Top:Gilles Deleuze | 4060 (001) | Patrick Durgin | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course offers an introduction to the thought of the French philosopher Gilles Deleuze (1925-1995). Deleuze was one of the 20th century?s most influential critical theorists: almost single-handedly revising the reputation of Nietzsche in France; critiquing psychoanalysis in its postmodern heyday; and devising new approaches to ontology, leftist political theory, and aesthetic theory. To this day, his concepts are frequently deployed in critical theory of all kinds, especially those concepts he developed in collaboration with activist and psychoanalyst Felix Guattari. This course provides an introduction to the reading of Deleuze?s work. The goal of the course is to familiarize you with the contours of his career and acquaint you with his peculiar style of writing. It also acquaints you with a few subsequent elaborations on and critiques of Deleuzian thought. We read Deleuze's book on Francis Bacon's paintings, his book on Henri Bergson, and also excerpts from A Thousand Plateaus, Logic of Sense, and What is Philosophy? We also read critical responses and elaborations of Deleuzian thought. Expect a steady, dense, and provocative reading schedule. Students complete a reading journal, a major term paper, and a collaborative presentation on intersections between contemporary art practice and Deleuze's philosophy.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Top: LGBTQ+ Intergenerational Production | 4060 (002) | Adam J Greteman | Mon
12:15 PM - 3:00 PM In Person |
Description
This studio seminar is centered around intergenerational queer art-making within the context of The LGBTQ+ Intergenerational Dialogue Project, which is a partnership between The Senior Services Program at The Center on Halsted and faculty members Adam Greteman and Karen Morris of SAIC. This spring course is run as a workshop in which students focus on intergenerational creative production with LGBTQ+ elders. Classes will be held at both SAIC and Center on Halsted. Students and elders will share a meal together after class meetings at Center on Halsted, and take at least one field trip together. A range of artists, works, scholars, and activist groups will be introduced during the first third of the course as students get to know one another and the purpose of the course. This will potentially include the following: Marlon Riggs, Lesbian Avengers, Chase Joynt, ACT-UP, Ron Athey, S.T.A.R., Paul Preciado, E. Patrick Johnson, Mickalene Thomas, and others. Over the course of the latter 2/3rd of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Each small group decides on topic(s) and medium(s) while working with the instructors to create a list of relevant readings, films, and/or podcasts they will engage as part of the research and production process. Over the course of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Final projects might take the form of visual art, video, oral history, photography, writing, a podcast, or something else. This work will be showcased on the project’s website (generationliberation.com) and have the potential to be expanded into a range of other educational resources.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Foundry: Advanced Projects | 4113 (001) | Dylan Palmer | Fri
9:00 AM - 3:00 PM In Person |
Description
Advanced students pursue individual casting projects while continuing to develop and refine casting skills. Alternative investment techniques are explored. Emphasis is placed on individual experimentation and development.
PrerequisitesPrerequisite: SCULP 2113 or SCULP 3113 |
Class Number |
Credits |
DepartmentLocation |
| Identity Systems | 4121 (001) | Michael Konetzka | Tues
9:00 AM - 3:00 PM In Person |
Description
This is an advanced studio course focusing on developing the methodology and skill sets required to shape a comprehensive visual identity system for commercial application. Students explore various practical facets of identity development: research, communication strategy, visual form, graphic standards, and implementation, with particular emphasis on mark-making, testing and refinement. Multiple approaches to identity design are examined and explored, including static, iterative, dynamic and kinetic systems. Suggested readings and screenings vary and may include excerpts from Graphic Design, Now in Production (Blauvelt, 2011), Designing Brand Identity (Wheeler, 2013), Marks of Excellence (Mollerup, 2013), Logo Design Love (Airey, 2015), Signs and Symbols, Their Design and Meaning (Frutiger, 1978), Graphic Design/The New Basics (Lupton, 2015), and Saul Bass?s Bell System Pitch. The identity work of major branding firms, such as Pentagram, Sagmeister, and Chermayeff & Geismar & Haviv are examined as well as the work of independent, highly regarded design professionals. Students will work on a progressive sequence of assignments as a way to build skills, learning and confidence in a didactic manner, culminating in a large-scale identity system, prepared for professional grade presentation.
PrerequisitesPrerequisite: VISCOM 3001 and VISCOM 3011. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Art and Technology Projects | 4121 (001) | Douglas Rosman | Mon
9:00 AM - 3:00 PM In Person |
Description
The goal of this course is to create an active engaged micro-community to support the the successful development and completion of advanced projects. An advanced project is a project that may require special technical skills, hardware, software or other support that may not be available in other ATS courses. An advanced project may be an artistic work or in-depth technical research. Advanced projects will have an measurable or tangible outcome (work of art, publication, software, etc.) and will flow from a formal peer-reviewed advanced project proposal. Students will meet weekly to critically engage each other?s work, participate in discussions informed by the project proposal and share technical skills. Students will meet with the instructor regularly for individual advising, tutorials and discussion as needed to advance the advanced project.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Identity Systems | 4121 (002) | Jacob Ristau | Mon
9:00 AM - 3:00 PM In Person |
Description
This is an advanced studio course focusing on developing the methodology and skill sets required to shape a comprehensive visual identity system for commercial application. Students explore various practical facets of identity development: research, communication strategy, visual form, graphic standards, and implementation, with particular emphasis on mark-making, testing and refinement. Multiple approaches to identity design are examined and explored, including static, iterative, dynamic and kinetic systems. Suggested readings and screenings vary and may include excerpts from Graphic Design, Now in Production (Blauvelt, 2011), Designing Brand Identity (Wheeler, 2013), Marks of Excellence (Mollerup, 2013), Logo Design Love (Airey, 2015), Signs and Symbols, Their Design and Meaning (Frutiger, 1978), Graphic Design/The New Basics (Lupton, 2015), and Saul Bass?s Bell System Pitch. The identity work of major branding firms, such as Pentagram, Sagmeister, and Chermayeff & Geismar & Haviv are examined as well as the work of independent, highly regarded design professionals. Students will work on a progressive sequence of assignments as a way to build skills, learning and confidence in a didactic manner, culminating in a large-scale identity system, prepared for professional grade presentation.
PrerequisitesPrerequisite: VISCOM 3001 and VISCOM 3011. |
Class Number |
Credits |
DepartmentLocation |
| Racial Politics of the US Built Environment, 1619 - 1787 | 4125 (001) | Tues
6:45 PM - 9:30 PM In Person |
|
Description
This seminar examines the formative impact of the Middle Passage and settler colonialism on the shape of the built environment in the territories that came to be the United States. Focusing on the early modern period from the arrival of the first enslaved workers in colonial Virginia to the formation of a new republic founded on the institution of slavery, we examine how the design of buildings and landscapes was inextricably linked to the brutalization of Black Lives and the theft of Indigenous lands. Readings vary but typically engage key sites of cultural and political conflict like plantations, and Indigenous conceptions of built form and land. Discussions chiefly focus on Black and Indigenous spaces and perspectives on space. Assignments vary but generally introduce students to material culture approaches to the study of the built environment, as well as feminist and BIPOC approaches to analyzing the cultural and political meanings of architectural form. Students should expect to produce a research paper or equivalent over the course of the semester.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Virtual Reality | 4135 (001) | Ava Mirage Wanbli | Fri
9:00 AM - 3:00 PM In Person |
Description
Virtual Reality is a studio course focused on setting up interactive, head and hand tracked, dynamic, collaborative, stereoscopic, three dimensional computer graphic spaces for large format displays such as the CAVE. The class will cover the necessary programming, modeling, interaction, and audio components to start mastering this digital craft. Through the course, we will consider various artworks realized in Virtual Reality as well as other immersive devices and mixed reality settings, and how they inform public consciousness of mental spaces. Accompanying readings are but a sample of current endeavors meant to open up a common discourse from where to discuss issues of immersion and human experience, such as metaphors of space, dynamic form in three dimensions, perception and representation, simulation, information, mapping, embodiment, and telepresence.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Experimental Game Lab | 4136 (001) | Salvatore Cordova | Mon
8:30 AM - 11:15 AM All Online |
Description
As a growing, hybrid form of art, experimental video games deal and intersect with themes of politics and society, architecture, design, storytelling; they subvert common commercial tropes of popular games, and more. Students will play, analyze, and discuss a variety of recent and older games, increase their literacy with the field, and apply the ideas learned in creating their own games or interactive digital artworks. Access to a Mac or Windows computer for playing and developing games is required. Workshops will be taught for the Twine and Unity 3D (C#) game creation tools. No prior experience required.
PrerequisitesPrerequisite: ARTTECH 2101 or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Poetic Systems | 4137 (001) | Judd Morrissey | Tues
9:00 AM - 3:00 PM In Person |
Description
What do we mean when we say that something is poetic? How would you describe the unique poetics at play within your own work? While contemplation about poetics can be traced back thousands of years, it has surged in the last half-century as artists and scholars attempt to account for the accelerated diversification of creative forms in a rapidly evolving technoculture. This course is a laboratory for experiments that embrace poetics as a way of thinking and making across disciplines. We will explore a selectively broad range of expanded and media-based poetic practices including constraint-based composition, hypertext, digital poetry, performance writing, virtual poetics, and bio-poetry as we discover and develop unique interdisciplinary projects. Open to a multiplicity of influences and outputs, text-centric or otherwise, the course is appropriate to artists with interests in language, semantics, code, and systems. No specific technical experience is required but the course is advanced in its expectation of a self-directed creative commitment and a significant contribution to group discourse in relation to the topic.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Experimental 3D | 4211 (001) | Marlena Novak | Tues
9:00 AM - 3:00 PM All Online |
Description
Within the 3D Maya software environment we will focus on creating speculative objects and alternate worlds. Inventive world-building with an emphasis on post-human topics, technical and conceptual skills will concentrate on imaginative 3D configurations of experimental ecologies. Advanced techniques include nCloth , Bifrost and deformer simulations within Autodesk Maya, advanced zBrush modeling and texturing skills, 3D scanning and render optimization. Substance Painter is available for additional 3D texturing. At midterm students present project development examples along with a Project Schedule and an Artist Statement; students will learn to create a professional Artist Rider that will accompany their completed Final project. Engaged weekly participation in course readings and discussions along with technical exercises are required. Course content addresses the theoretical territory of the simulated environment and Anthropocenic topics, and will address the `vibrancy? of 3D objects and object-oriented ontology as applied to the virtual world. Projects can function to amplify or critique the conceptual materials; works can address innovative proposals, solutions, and concerns, presenting dystopic, utopic or heterotopic themes. Imaginary environments, both external and internal, along with their inhabitants ? encountering each other and their worlds ? are among the subjects that can be invented/proposed in various and creative ways. Potential project output can include computer-generated moving image installations, interactive artworks, and digital 2D or 3D prints. Collaborations with class members are welcome.
PrerequisitesPrerequisite: FVNM 2015 or FVNM 5025 |
Class Number |
Credits |
DepartmentLocation |
| Sem:Trans* Pictures | 4225 (001) | Mickey R Mahoney | Wed
8:30 AM - 11:15 AM All Online |
Description
This seminar explores the history and culture of transgender and gender non-conforming communities and identities, with a particular focus on moving image work encompassing cinema, television, and new media. Themes and approaches include transfeminist, postgenderist, and queer/trans theories which challenge essentialized notions of gender and sexuality. The course consists of weekly discussions based on screenings of moving image work, as well as critical and theoretical texts that investigate identity, embodiment, technology, and representation as they relate to trans issues. Some of the scholars and artists we will study include Susan Stryker, David Valentine, Zachary I. Nataf, C. Riley Snorton, Paul B. Preciado, Helen Hok-Sze Leung, Sam Feder, Lilly Wachowski, Chase Joynt, Tourmaline, Wu Tsang, Silas Howard, Angelo Madsen Minax, Jules Rosskam, Annalise Ophelian, Zackary Drucker. Course work will include in-class discussions, reading assignments, reading/screening response essays, a midterm critical response essay, and a final research paper.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Terrorism: A Media History | 4255 (001) | Mary Patten | Wed
12:15 PM - 3:00 PM In Person |
Description
An investigation of media and cinematic representations of 'terrorism' through the 20th century up to the present. Primary 'texts' will be films, videos, and photography, supported by readings from a wide range of sources: historical, political economy, fiction, media criticism, oral histories. Students will screen and study propaganda films, narratives, film and video essays, and experimental works whose subject directly or obliquely addresses the subject of political violence. The course will examine the moblizing effects of these works, and seek to unpack a hefty suitcase of current debates about moral relativism, just and unjust wars, the problem of evil, and uses of violence in film.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Exhibition Prosthetics | 4301 (001) | Joseph Grigely | Tues
12:15 PM - 3:00 PM In Person |
Description
Where does an artwork begin & end? Where does an exhibition begin & end? Is an exhibition solely about the materialization of specific works of art, or is it also—and if so, in what ways—about the various conventions that go into the making of exhibitions—which include press releases, announcement cards, checklists, wall labels, catalogues, and digital-based media? Conventions like these are representations. We engage in different kinds of representations both because of the implausibility of re-presenting, and also because representation is a means by which we further, through the use of language and images, and through a process that is both otherwise and otherhow, the reach of the real. In this respect, moving closer to the artwork involves moving away from the artwork--to look closer at fringes and margins and representations, and ask a very fundamental question: to what extent are these various exhibition conventions actually part of the art--and not merely an extension of it? While the course is experiential and practical, it also explores conceptual issues underpinning the relationship between curatorial and creative practice. The class is open to both graduate and undergraduate students interested in curating across many historical periods, as well as BFA and MFA students interested in the ways exhibitions create contexts for their work, and how they might participate in the construction of these contexts.
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Class Number |
Credits |
DepartmentLocation |
| Art, Media, and Politics in the Weimar Republic | 4337 (001) | Annie Bourneuf | Fri
12:15 PM - 3:00 PM In Person |
Description
In the fraught context of Germany between the end of the First World War and Hitler's rise to power, arguments about politics often turned into arguments about media, and vice versa. Artists and writers saw recently developed media such as film, radio, and the photographically illustrated magazine as transforming not only art, but also politics, sense perception, and the nature of subjectivity. In this course, we study the work of artists associated with Expressionism, Dada, and New Objectivity to understand the relations among aesthetics, politics, and new media at this pivotal moment.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Mass Demonstration: Art, Politics, and Collective Action in Asia | 4452 (001) | Jennifer Dorothy Lee | Mon
12:15 PM - 3:00 PM In Person |
Description
After the death of Mao, protests practices that came to define China's 'Peking Spring' in the late 1970s served not only to articulate everyday citizens' collective demands for new polity, but also to forge their emergent expressions of selfhood and society through art. This course interrogates the ways in which such aesthetic formations--exhibitions of art, societies of painting and photography, poetic performance, documentary and film production--arise from the spontaneity of collective action in the midst of civil unrest and cold war (Hong Kong), or in the aftermaths of revolution and global conflict (Korea, PRC). Examining the simultaneity and mutual constitutions of art and politics that come to define East Asian modernity at key moments throughout the 20th and 21st centuries, the course will consider the contradictory and conflicted functions of new art as a medium of social and cultural transformation.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Asian Art Now | 4496 (001) | Nora Annesley Taylor | Wed
12:15 PM - 3:00 PM In Person |
Description
With the rise of contemporary art exhibitions featuring Asian artists in Europe and the United States, not to mention the increased visibility of Asian artists in biennales and triennials around the world, this course will offer students the opportunity to examine more closely the latest trends in art practices around Asia including India, China, Vietnam and Indonesia. In order to make the class as current as possible, reading material will be drawn heavily from Asian art magazines, web sites and exhibition catalogues.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Advanced Animation Projects | 4500 (001) | Christopher Sullivan | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class is for students who have explored various animation techiques and wish to create a finished work. All animation techniques (drawing, puppets, cut-outs, CG, etc.) are welcome. Students work in an environment of highly motivated, like minded individuals, and receive regular critiques of their work-in-progress.
PrerequisitesPrerequisite: FVNM 3423 or FVNM 3424 or FVNM 3430 |
Class Number |
Credits |
DepartmentLocation |
| Better Homes and Gardens: Vernacular Art Environments | 4512 (001) | Annalise Flynn | Fri
8:30 AM - 11:15 AM In Person |
Description
This course explores the rich genre of vernacular art environments' combinations of art, architecture and/or landscape architecture, including religious grottos, spiritual, devotional and mystical sites, gardens, ephemeral yard shows, architectural inventions, expressions of loneliness and survival, artist-built sites of conscience, homes fully transformed, artist's museums, and other created spaces that are site and life specific. The course examines historical and contemporary art environments and issues impacting art from beyond the academic mainstream and its evolving definitions, environments in their social, political and cultural contexts, home and landscape as studios, the viability and longevity of specific sites, and site preservation. Artists explored in this class include women, people of color, economically disadvantaged makers, farmers/rural dwellers, urban dwellers, and immigrants, among others. Artists' sites examined range from Sam Rodia's Watts Towers, Emery Blagdon's Healing Machine, Kea Tawana's Ark, to Ferdinand Cheval's Palais Ideal, and many more. Lectures are supported by video, audio, and a broad range of readings. Developing an awareness and appreciation for vernacular expressions in architecture, architectural cladding and ornament, garden ornament and yard shows, and other ordinary or beyond-ordinary visual arrangements in our shared, adorned environment is a subtext. Students complete readings and exploration and research projects. Add: Sign up for this class requires instructor consent and is by application to Professor Nicholas Lowe. For more details please email nlowe1@saic.edu.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Better Homes & Gardens | 4512 (001) | Annalise Flynn | Fri
8:30 AM - 11:15 AM In Person |
Description
This course explores the rich genre of vernacular art environments' combinations of art, architecture and/or landscape architecture, including religious grottos, spiritual, devotional and mystical sites, gardens, ephemeral yard shows, architectural inventions, expressions of loneliness and survival, artist-built sites of conscience, homes fully transformed, artist's museums, and other created spaces that are site and life specific. The course examines historical and contemporary art environments and issues impacting art from beyond the academic mainstream and its evolving definitions, environments in their social, political and cultural contexts, home and landscape as studios, the viability and longevity of specific sites, and site preservation. Artists explored in this class include women, people of color, economically disadvantaged makers, farmers/rural dwellers, urban dwellers, and immigrants, among others. Artists' sites examined range from Sam Rodia's Watts Towers, Emery Blagdon's Healing Machine, Kea Tawana's Ark, to Ferdinand Cheval's Palais Ideal, and many more. Lectures are supported by video, audio, and a broad range of readings. Developing an awareness and appreciation for vernacular expressions in architecture, architectural cladding and ornament, garden ornament and yard shows, and other ordinary or beyond-ordinary visual arrangements in our shared, adorned environment is a subtext. Students complete readings and exploration and research projects. Sign up for this class requires instructor consent and is by application to Professor Nicholas Lowe. For more details please email nlowe1@saic.edu.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Anti-Art | 4520 (001) | Simon Anderson | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course considers attacks on art. After brief introductions to ancient & modern iconoclasm, censorship, and cultural suppression the focus is on the more recent phenomena of anti-art as Art. After dada, the idea reoccurred?notably in the 1960s?and sporadically since. Various art-inspired assaults on different aspects of culture are examined; the Situationist International, Fluxus, No!Art, GAAG; strikes by artists in Europe, America, or on international Mail-art circuits; and other less overt attacks on traditional art modes, such as those witnessed in punk and post-punk collaborations. 'Anti-art' also involves new methods of creating, displaying, distributing, considering, critiquing, researching and writing about art: all these avenues will be open to investigation.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Data, Aesthetics, and Technical Images | 4547 (001) | Michael Golec | Thurs
12:15 PM - 3:00 PM In Person |
Description
The historian of cultural technologies Mario Carpo characterizes technical drawing systems as instances of data compression, or the translation of three-dimensional objects and spaces into two-dimensional figures. This course addresses Carpo's proposal by examining modern techniques of data compression operative in forms of mechanical drawings, plans for infrastructure, diagrams for assembly, and visualizations of statistical data in forms of charts, graphs, and thematic maps (to name just a few examples). In addition to historical analysis of material techniques for the creation of technical images and data visualizations, the class will examine cultural meanings of an array of informational artifacts, including, but not limited to: early modern printed machine books; encyclopedias of the mechanical arts; engineering drawings from small-scale industrial products to large-scale infrastructural systems; patent drawings; pictographic statistical charts; data portraits; statistical schematics; time-lines; and urban cartography.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Shape of Contemporary Dress | 4562 (001) | Gillion Carrara | Fri
8:30 AM - 11:15 AM In Person |
Description
Class content begins with the start of the youth quake of the 1960s and continues until the current day of designers? oeuvres, expanding to such arenas as video art, performance and creation of merchandise. On occasion, a select number of students will participate with an end of year presentation together with students of the Department of Fashion Design. This course is a chronological inquiry into fashion and dress and the relationship to a heritage of the visual arts, politics, literature, gender, and equality. Students will gain recognition of primary sources for analysis relating to art and dress in the Ryerson and Flaxman libraries. The SAIC Fashion Resource Center is a fully comprehensive venue as resource for any project. While individually and as a class, conversations are immediate, since surrounded by publications, garments and related materials in the F R C Study room and Wardrobe. Six assignments progress from the knowledge of history to lives and practices of global designers. Of significance is an exercise of garment examination in the F R C Wardrobe resulting in museum like documentation permitting students to learn vocabulary and accurate assessment. Emphasis is placed on students mastering the skills of writing, presenting visual arts and oral presentation.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Walk That Way | 4611 (001) | Lori Waxman | Tues
12:15 PM - 3:00 PM In Person |
Description
Walking is the most obvious thing in the world. We all do it. In fact it is a primary way to differentiate human beings from other sentient creatures. And yet, for the past century, artists have made revolutionary, romantic and aesthetic use of this most commonplace gesture. In this class, we consider groups like the Surrealists, the Situationist International and Fluxus, all of whom walked in cities as a means of making vanguard art. We explore the flaneurs who came before them and contemporary artists like Francis Alys and Janet Cardiff, who came after. We look outside urban limits too, at Richard Long and the long history of Romantic walkers and traditional nomads that preceded him. Course work includes a midterm exam and a final paper?and maybe, just maybe, we will go on a couple of walks ourselves.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| The Street: Site and Subject in Photography | 4622 (001) | Alice Maggie Hazard | Tues
8:30 AM - 11:15 AM In Person |
Description
This seminar considers the role of the city street in postwar American and contemporary photography and the ways in which such an approach might complicate our understanding of this genre. We will examine: key historical texts; exhibitions like Street and Studio, Strangers, and Bystander that have shaped the definition of street photography to date; and the critical practices of artists (e.g. Robert Adams, Sophie Calle, Hans Haacke, Zoe Leonard, Fred McDarrah, Ed Ruscha) and scholars (e.g. Michel de Certeau, Rosalyn Deutsche, Louis Kaplan) whose works may offer alternatives to that history.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Advanced History Of Video | 4670 (001) | Chris Reeves | Thurs
12:15 PM - 3:00 PM All Online |
Description
This course allows students to develop more sophisticated ways to make sense of the intersection of video art, television studies, and contemporary art practices, and to place video art within the larger sphere of art history. To strengthen students' abilities to understand dialectical thinking as currently applied by art historians, the course includes writings by Thomas Crow, T. J. Clark, and Terry Eagleton, as well as the work of critical theorists working more exclusively in television studies and popular culture. A variety of work is screened each week, from television talk shows to European avant-garde, as well as low budget, grass roots video projects. The class explores how cultural differences are played out in current video art practices in Europe, Central America, and South America.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentLocation |
| Processes in Arts Administration | 4700 (001) | Daniel Atkinson | Mon
6:45 PM - 9:30 PM In Person |
Description
Processes in Arts Administration offers project-based engagement with timely and relevant developments in Arts Administration. Through an incubator model, students will have the opportunity to explore creative processes that take place as part of independent projects, or 'in the front of the house' and behind the scenes of arts organizations, elevating creativity in arts administration. Course work will vary and may include researching, proposing and designing curatorial projects across media, programming supporting events for multiple audiences, and designing and publishing publicity, critical, and documentation materials in conjunction with projects. Students will develop site specific projects at proposal, model, and prototype levels. Course outcomes will include presentations and documentation.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Whatnot Studio | 4800 (001) | William Walton | Wed
9:00 AM - 3:00 PM In Person |
Description
The Whatnot Studio is a progressive educational platform in the Designed Objects department at SAIC that is focused on creative inquiry and iteration. This year-long course enables students to hone their voice as individual designers while working as a team to execute a thematic collection of highly refined and relevant work for public exhibition. The Whatnot Studio has exhibited work at the Salone del Mobile in Milan, Italy and at Wanted Design in New York City. Select mid- and upper level undergraduate and graduate students are admitted to this course via portfolio review. Readings, recordings, screenings, and field trips vary annually depending on the course theme. Students should expect to produce one exhibition quality object and should also expect to work as part of a team to develop exhibition design and promotional materials. Please apply through slideroom: https://saicscholarships.slideroom.com/#/permalink/program/77943
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Pop Culture Theory: Adorno 'Culture Industry'/Art as Social Experience | 4804 (001) | Christopher Cutrone | Fri
12:15 PM - 3:00 PM In Person |
Description
Adorno is well known for his scathing critique of 'culture industry.' But what is usually missed is that Adorno's critique of 20th Century cultural forms was dialectical, concerned with their potential for both emancipation and domination, and was aimed equally at modern practices of 'hermetic' art as well as those of 'popular' culture, anticipating issues in 'post'-modernist cultural criticism. In this course we address the Frankfurt School critical theory of experience and aesthetic subjectivity in modern social life in context, reading works by Benjamin, Kracauer and Marcuse, and then focusing on works by Adorno in considering the analytical and explanatory as well as critical power of certain enduring if problematic and contested categories such as 'commodification' and 'democratization' for a dialectic of modern forms of art and culture as forms of social subjectivity. Course assignments include in-class team presentations on the readings, a midterm paper and a final paper.
PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Senior Exhibition (Spring) | 4900 (001) | Danny Floyd | Mon
9:00 AM - 3:00 PM In Person |
Description
Students who enroll in Capstone 4900: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.
PrerequisitesTo enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. |
Class Number |
Credits |
DepartmentLocation |
| BFAW Thesis Workshop | 4900 (001) | Leila A Wilson | Fri
12:15 PM - 3:00 PM In Person |
Description
In this course students will create a singular written project and enrich their understanding of how that project fits into a larger tradition. Through full-class workshops, small-group critiques, individual conferences, and engaged revision, students will deepen the grooves of their writing process and cultivate a practice that is open to feedback and that lets in surprise. Students’ thesis projects can take multiple forms: poetry, fiction, creative nonfiction, comics, drama, hypertext, performance, hybrid work, or a combination thereof. The course’s readings and inquiries will be driven both by students’ own studies into material significant to their writing and by their productive engagement with their classmates’ work. By the end of the semester, students will have completed a BFAW thesis, consisting of three parts: (1) a creative project; (2) an annotated bibliography; and (3) a reflective essay, which will examine an issue of craft, subject, process, or genre.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Critique Seminar | 4900 (001) | Peter Jorge Fagundo | Tues
8:30 AM - 11:15 AM In Person |
Description
This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| UG Thesis: Research/Writing II | 4900 (001) | Kristi Ann McGuire | Fri
12:15 PM - 3:00 PM In Person |
Description
This course is a continuation of Undergraduate Thesis: Research and Writing I. Students will continue to work on the drafts developed during the first semester and will meet at times as a group and at times individually with the instructor or teaching assistant. By the end of the semester, each student will have a 25-35 page superbly written thesis (maximum 45 pages), which will most likely (although it is not required) have visual content. Students will also present their thesis projects in the VCS Undergraduate Thesis Symposium at the end of the semester. Class meetings are used to discuss readings, workshop writing, share research methods and techniques, and discuss research and writing problems. Guest speakers and group visits to libraries may also be part of the class. Students are required to attend all meetings, participate actively in class discussions and workshops, present work in the symposium, and complete a polished thesis by the end of the semester.
PrerequisitesVCS 4800 |
Class Number |
Credits |
DepartmentLocation |
| Senior Advanced Painting | 4900 (001) | Scott Reeder, Rachel Niffenegger, Paula Kamps | Mon/Tues/Wed
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Advanced Painting | 4900 (001) | Scott Reeder, Rachel Niffenegger, Paula Kamps | Mon/Tues/Wed
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Advanced Painting | 4900 (001) | Scott Reeder, Rachel Niffenegger, Paula Kamps | Mon/Tues/Wed
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Apprentice Teaching | 4900 (001) | Tues
5:00 PM - 8:00 PM In Person |
|
Description
The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students’ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment.
PrerequisitesPrerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Senior Film/Video Projects | 4900 (001) | Daniele Wilmouth | Thurs
9:00 AM - 3:00 PM In Person |
Description
This senior Capstone course is designed for students who made a serious commitment to film and video as a major part of their art practice and who wish to focus on the completion of a moving image project for public presentation. Students will be asked to document their practice and develop a realistic plan for the exhibition of their work. The structure of the class consists of periodic workshops, regular critiques of student works as well as individual meetings. Additionally, students will be exposed to diverse examples of contemporary moving image works and will participate in discussions of relevant critical topics. Students should be both self-directed and interested in developing a support system for producing each other's work.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| UG Thesis: Research and Writing II | 4900 (001) | Kristi Ann McGuire | Fri
12:15 PM - 3:00 PM In Person |
Description
This course is a continuation of Undergraduate Thesis: Research and Writing. Students continue to work on the drafts developed during the first semester and meet at times as a group and at times individually with the instructor. By the end of the semester, each student has a 20?0 paged superbly written paper, which will most likely (although it is not required) has visual content. Students also are encouraged to develop their essays for the publication Research Writing and Culture, which is released annually by the Liberal Arts Department, the Visual and Critical Studies Program, and the Office of Publications and Graphic Design Services. Students who elect to participate in the publication learn the final stages of publishing; checking sources, seeking copyright permissions, and developing the images for publication. Class meetings are used to discuss readings, share research methods and techniques, discuss research and writing problems and ideas for critique. Guest speakers and group visits to university libraries, bookstores, and writers' readings are also part of the class. Students are required to attend all meetings.
PrerequisitesLIBARTS 4800 |
Class Number |
Credits |
DepartmentLocation |
| Ceramics Senior Critique Studio | 4900 (001) | Emily Schroeder Willis | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is a forum for in-depth critiques, technical, conceptual, and professional practice discussions based on the student?s practice and research. The goal of this class is to provide students information and guidance on how they can continue with their art practice after school. Each student enrolled in the course will be assigned a studio space within the department. The course is open to Seniors only who have previously taken 9 credit hours of Ceramics classes, 2000-level and above. Students signing up for this class must also be enrolled in any 3 credit hour Ceramics class, 2000-level and above. Seniors may enroll in this course for two consecutive semesters only. Some of the books we will use as a reference for this class may be Living and Sustaining a Creative Life: Essays by 40 by Sharon Louden and 33 Artists in 3 Acts by Sarah Thornton. Additionally, students will present to the class about an artist or thinker. The format for this course is primary individual and group meetings, readings, presentations, field trips, exhibitions, and group critiques. Additionally, we will have a discussion with guest artists speaking and about their work and the technicalities of how to continue with their art practice. Students will learn how to document, install, and promote their work. It is expected of the students to self direct their own project culminating with a final exhibition project as part of their BFA or Gallery 1922.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Advanced Fashion Studio 2 | 4900 (001) | Anke Loh, Pamela Vanderlinde | Tues/Thurs, Tues/Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
Advanced Fashion Studio 2 This two-day (6 credit hour) course aims to help students achieve a high level of professionalism through the design and development of collections that both emphasize and generate a personal style and a fashion direction. Building on the fall semester, students will plan and execute an editorial photoshoot of one look concurrent to the completion of a collection of garments to be shown during the spring fashion runway show. Pre-req FASH 4001.
PrerequisitesStudent must complete FASH 3900 & 4001 prior to enrollment |
Class Number |
Credits |
DepartmentLocation |
| Design Thesis Seminar | 4900 (001) | Stephen Farrell, Piotr Michura | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this team-taught studio course, students have the opportunity to explore a specific design problem in the student's area of concentration and develop it thoroughly and comprehensively as a thesis throughout the semester. Work is carried out independently and discussed once a week in a critique seminar format. Students formally present their work at various points throughout the semester. Final work is presented to an outside panel of industry professionals. Students must submit a proposal to be admitted to Advanced Studio and have the signature of one of the two instructors to register for this course. Open to seniors and post-baccalaureates only. Readings and research materials for this class are largely directed by each student?s thesis and supplemental material suggested by the course instructors and classmates. Materials are presented to the class alongside work progress for discussion. Students should expect to produce a body of work consisting of finished pieces during the semester and a presentation detailing their process and trajectory, to be presented in a culminating course critique with an outside panel.
PrerequisitesPrerequisite: 3900 course or graduate student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Capstone: Radical Acts of Preservation | 4900 (001) | Jonathan Solomon | Fri
9:00 AM - 3:00 PM In Person |
Description
Acts of preservation are ancient and practiced broadly across cultures, from fermenting food, to telling and retelling stories, to fabricating and repairing clothing and shelter. In art and design, radical acts of preservation not only maintain part of the past, but imagine and enact new connections between past, present, and future. This Capstone studio will explore a range of contemporary radical preservation acts including critical architectural preservation and art conservation projects; institutional critiques of libraries, museums, and archives; and preservation of multiple, intersectional, and even contradictory pasts in any medium. Course work will include readings, in-class discussions, and critiques. Students will work individually throughout the course to research precedents of radical preservation acts, identify a subject of interest for preservation, and enact a preservation strategy for it in any art or design medium of their choice.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Advanced Fashion Studio 2 | 4900 (001) | Anke Loh, Pamela Vanderlinde | Tues/Thurs, Tues/Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
Advanced Fashion Studio 2 This two-day (6 credit hour) course aims to help students achieve a high level of professionalism through the design and development of collections that both emphasize and generate a personal style and a fashion direction. Building on the fall semester, students will plan and execute an editorial photoshoot of one look concurrent to the completion of a collection of garments to be shown during the spring fashion runway show. Pre-req FASH 4001.
PrerequisitesStudent must complete FASH 3900 & 4001 prior to enrollment |
Class Number |
Credits |
DepartmentLocation |
| Senior Photo Studio Seminar | 4900 (001) | Sonja Ruth Thomsen | Thurs
9:00 AM - 3:00 PM In Person |
Description
This interdisciplinary capstone, with an emphasis on contemporary photography and visual culture, is structured as an intensive critique and mentoring class focused on the development and presentation of culminating work at the end of the BFA and the continued progression of studio work beyond the BFA exhibition. The course supports the production of self-initiated work, a successful BFA show and a road map for a sustainable art practice after graduation. Preparations for the BFA exhibition include workshopping project proposals, budgets, production schedules, the development of new work and an array of possible final presentation forms. Readings, screenings and discussions will examine useful models of participation in cultural production and a critical framework for analyzing a range of platforms to share work online, in print and exhibition. Studio visits will provide insight into the day-to-day life of artists at various stages in their career ranging from current SAIC grad students to working professionals. Online and printed portfolios utilizing an ever-evolving archive of work will be refined along with professional supporting materials such as statements, CVs and artist talks necessary for a professional practice beyond graduation.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Design Thesis Seminar | 4900 (001) | Stephen Farrell, Piotr Michura | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this team-taught studio course, students have the opportunity to explore a specific design problem in the student's area of concentration and develop it thoroughly and comprehensively as a thesis throughout the semester. Work is carried out independently and discussed once a week in a critique seminar format. Students formally present their work at various points throughout the semester. Final work is presented to an outside panel of industry professionals. Students must submit a proposal to be admitted to Advanced Studio and have the signature of one of the two instructors to register for this course. Open to seniors and post-baccalaureates only. Readings and research materials for this class are largely directed by each student?s thesis and supplemental material suggested by the course instructors and classmates. Materials are presented to the class alongside work progress for discussion. Students should expect to produce a body of work consisting of finished pieces during the semester and a presentation detailing their process and trajectory, to be presented in a culminating course critique with an outside panel.
PrerequisitesPrerequisite: 3900 course or graduate student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| d.Studio | 4900 (001) | Mark Stammers | Wed
9:00 AM - 3:00 PM In Person |
Description
d.STUDIO is a Visual Communication Design department, consent only, advanced Capstone course run in collaboration with SAIC?s Marketing & Communications department. Students work with internal SAIC clients in a quasi-professional setting on real-world design projects and apply their skills to an array of print and digital media platforms to meet the messaging requirements of the client. Students work on two significant projects in a semester, and receive critical feedback on their progress at every stage of the design process via one-on-one, group, and client-led critiques and discussions. Students create professional-looking mood boards, facsimile mockups, and digital presentations to promote their ideas. The client awards the design commission for a project to the student whose concept best aligns with their communication needs. The client then works with the student to help bring the project to a successful conclusion. Communication possibilities include advertisements, animation, app design, direct mail, identity, invitations, packaging, postcards, posters, publications, and signage.
PrerequisitesStudent must have completed VISCOM 3001 and 3011, must also have completed a 3900 class or be a graduate student. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Graphic Design | 4900 (001) | Georgia Bockos | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course students further develop their ability to undertake complex design problems involving typography and imagery to create meaningful solutions. Emphasized is the development of a point of view through a professional lens. It is the culmination of the beginning graphic design and intermediate graphic design course thread by taking a deeper exploration of visual communication design through the creation of systems, interventions, and speculations. In this course, students will be exposed to the work of contemporary print and digital designers and studios such as Second Story, Studio A and Appetite Engineers. Readings, lectures and course work will address the role of applicable design theory and methodologies to create, develop and articulate a concept based on extensive research and strategic thinking for clear communication objectives Coursework will vary as determined by the instructor, but will comprise a minimum of two projects. Basic parameters will be established by the instructor with final outcomes resulting in fully functional digital interactions and/or printed and possibly bound experiences. Assigned projects are user-centered, come with constraints, and have targeted audiences. Outcomes are open-ended physical experiences or digital interactions. Professional practice components are addressed, including making visual audits, writing project briefs, crafting strategies, presenting concepts, and thoroughly developing visual iterations and refinements.
PrerequisitesStudent must have completed VISCOM 3001 and 3011, must also have completed a 3900 class or be a graduate student. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Publish or Perish | 4900 (001) | Beth Kathleen Hetland | Thurs
9:00 AM - 3:00 PM In Person |
Description
With an emphasis on production, this comics course focuses on developing and critiquing a culminating body of work that will be created from idea to completed printed publication. Students? work will be formatted, discussed, and placed in the context of their post-SAIC life and careers. This may include a variety of methods such as ashcans, pitches, conventions, tabling, anthologies, minicomics, and/or long form narratives. Experience in comics or illustration is highly recommended. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include Growing Gills by Jessica Abel, Draw Stronger by Kriota Wilberg, Asterios Polyp by David Mazzuchelli, and How to Not Always Be Working by Marlee Grace Students will spend the semester creating a culminating body of work for publication as well as documenting their process throughout development and evolution.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Senior Thesis II | 4900 (001) | David Raskin | Mon
8:30 AM - 11:15 AM In Person |
Description
This class is the second component of a two-semester class that equips senior students earning a BAAH or a BFA with Art History Thesis with the skills to develop an advanced art historical research project, in this case: the senior thesis. It provides writers working on independent research projects with structure, guidance, constructive criticism, and a supportive peer community for discussion of their work in progress. Writers meet regularly with the instructor and their classmates to develop their ideas, address problems, and steer their projects to completion. The course combines individual mentoring of students as they engage in the sustained research and writing of a capstone project, with exposing students to a range of art historical professions and coaching students to prepare for careers in art history. The focus of this development from students to professionals, is both on the ethics of professional conduct in the field of art history as well as the content of various art historical careers. To this end, students will research, prepare, and submit one career-related written proposal, such as graduate school application, residency application, conference presentation proposal, publication submission or other.
PrerequisitesARTHI 4899 & 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Critique Seminar | 4900 (001) | Dushko Petrovich | Thurs
3:30 PM - 6:15 PM In Person |
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Fiber and Material Studies Studio | 4900 (001) | L Vinebaum, Danielle Andress | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Advanced Fiber and Material Studies Studio | 4900 (001) | L Vinebaum, Danielle Andress | Tues/Thurs
9:00 AM - 3:00 PM In Person |
Description
This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Exhibition (Spring) | 4900 (002) | Jeffrey James Matthew Prokash | Tues
9:00 AM - 3:00 PM In Person |
Description
Students who enroll in Capstone 4900: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.
PrerequisitesTo enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. |
Class Number |
Credits |
DepartmentLocation |
| Comics Capstone Seminar: Publish or Perish | 4900 (002) | Jeremy R Tinder | Fri
3:30 PM - 6:15 PM In Person |
Description
With an emphasis on production, this comics course focuses on developing and critiquing a culminating body of work that will be created from idea to completed printed publication. Students? work will be formatted, discussed, and placed in the context of their post-SAIC life and careers. This may include a variety of methods such as ashcans, pitches, conventions, tabling, anthologies, minicomics, and/or long form narratives. Experience in comics or illustration is highly recommended. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include Growing Gills by Jessica Abel, Draw Stronger by Kriota Wilberg, Asterios Polyp by David Mazzuchelli, and How to Not Always Be Working by Marlee Grace Students will spend the semester creating a culminating body of work for publication as well as documenting their process throughout development and evolution.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Senior Critique Seminar | 4900 (002) | Jill M. Lanza | Fri
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Critique Seminar | 4900 (003) | Jeffrey James Matthew Prokash | Wed
8:30 AM - 11:15 AM In Person |
Description
This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Apprentice Teaching | 4900 (003) | Niema Qureshi | Tues
5:00 PM - 8:00 PM In Person |
Description
The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students’ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment.
PrerequisitesPrerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Senior Critique Seminar | 4900 (004) | Assaf Evron | Fri
8:30 AM - 11:15 AM All Online |
Description
This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Exhibition (Spring) | 4900 (004) | Stacia Laura Yeapanis | Mon
9:00 AM - 3:00 PM In Person |
Description
Students who enroll in Capstone 4900: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.
PrerequisitesTo enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. |
Class Number |
Credits |
DepartmentLocation |
| Apprentice Teaching | 4900 (004) | Juarez Hawkins | Tues
5:00 PM - 8:00 PM In Person |
Description
The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students’ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment.
PrerequisitesPrerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Senior Critique Seminar | 4900 (005) | Anjulie Rao | Mon
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Senior Exhibition (Spring) | 4900 (005) | Mathew Wilson | Tues
9:00 AM - 3:00 PM In Person |
Description
Students who enroll in Capstone 4900: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.
PrerequisitesTo enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. |
Class Number |
Credits |
DepartmentLocation |
| Senior Exhibition (Spring) | 4900 (006) | Elena Ailes | Fri
9:00 AM - 3:00 PM In Person |
Description
Students who enroll in Capstone 4900: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.
PrerequisitesTo enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. |
Class Number |
Credits |
DepartmentLocation |
| Studio Practice: Printmedia | 4900 (061) | Peter Power | Tues
9:00 AM - 3:00 PM In Person |
Description
Designed for advanced-level Printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. Students accepted into this section will be given an undergraduate studio in the 280 Building. Please note that during class time, students in this section don't have access to any print facilities other than their studio space. Application is required for consideration.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Advanced Printmaking | 4900 (062) | Anna Laure Kielman, Jina Valentine | Thurs, Thurs, Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course facilitates students who have progressed beyond the advanced 3000 level classes offered by the Department of Printmedia. Students are expected to be self-motivated and capable of working in an interdisciplinary and mature fashion. Application is required for consideration.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Advanced Printmaking | 4900 (062) | Anna Laure Kielman, Jina Valentine | Thurs, Thurs, Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course facilitates students who have progressed beyond the advanced 3000 level classes offered by the Department of Printmedia. Students are expected to be self-motivated and capable of working in an interdisciplinary and mature fashion. Application is required for consideration.
PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentLocation |
| Critical Artifacts | 4919 (001) | Hennie Jurie Reynders | Thurs
12:15 PM - 3:00 PM In Person |
Description
The seminar-studio allows for serious play, experimentation and for the deliberate entanglement of theory and practice. We are not looking for solutions, but rather for sophisticated tools in the translation and communication of concerns. We encourage a pluralistic research method where empirical knowledge, deep research, biopic investigations and speculative explorations are all equally valued. The coursework requires reading, writing, discussion and the creation of artifacts in any medium through rigorous thinking, making and sharing practices The seminar-studio is a truly interdisciplinary venue for those students interested in a critical research-through-design exploration dealing with spatial concerns grounded in body-space and object-space relationships - including ideas of temporality, gesture, identity, ownership, the social shaping of technology and structure and agency. Readings and case studies vary, but are typically grounded in the philosophical positions of Bruno Latour, Peter Sloterdijk and the writings of Jeremy Till. We attend the occasional lecture and/or exhibition. Project work emphasize the translation of ideas from text to two-dimensional, three-dimensional and four-dimensional work. The final project outcome can be in any medium and often exists as three-dimensional artifact, an installation or in a new-media format. The studio's final work is exhibited and opened to critique from an external panel of critics.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Parametric Constructions: Revit | 4950 (001) | Stephanie Surjan | Mon
9:00 AM - 3:00 PM In Person |
Description
Students will learn how to use Revit as a tool to investigate different stages of design development within Architecture. Topics will include BIM (Building Information Modeling), managing a fully parametric design, understanding categories, families and types and outputting drawings for presentations. The semester will be broken up into four categories: Space Planning, Building, Landscape and Output. Each class will follow a tutorial and include a show & tell of student?s work in progress for a collective conversation of Revit and design strategies. Students will embark on their own projects while following a program and sqft script. This structure will allow for additional topics to be explored collectively as issues both within design and software arise. Deliverables will be due at the beginning of each class and a Group Project will be introduced midway through the semester. A Final Project with a Competition style layout will be plotted and pinned up on the last day. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.
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Credits |
DepartmentArea of StudyLocation |
| Contemporary Issues in Design: UNCOMMON GROUNDS | 4954 (001) | Berenika Boberska | Tues
6:45 PM - 9:30 PM In Person |
Description
Landscape futurism in the Anthropocene calls for inventive explorations of apparent contradictions such as unnatural natures, fugitive botanies, culture/agriculture, technology/shamanism, landscape interiority and future pasts. This course will cover research of altered landscapes as well as cultural artefacts, tools and spatial practices across different geographies and timescales to inform a radical re-imagining of the ancient idea of environmental Commons, focusing on histories, spaces, future objects and folklores.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
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Credits |
DepartmentLocation |
| Graduate Painting and Drawing Seminar | 5001 (001) | Assaf Evron | Tues
6:45 PM - 9:30 PM In Person |
Description
This course looks at the range of concerns that inform and shape the making as well as the reception of paintings in a contemporary context. As a class, we will read, discuss and debate a range of historical and contemporary texts by artists, art historians, cultural theorists and critics on the continuing role and impact of painting as an art form, market force, and culture shaper, along with readings addressing the ability of art --and of painting in particular-- to effect political, ethical, and psychic change on both an individual and a broader social and cultural level. Thematic topics, readings and screenings will vary but are typically chosen in reference to specific VAP or Departmental artist lectures offered during the semester of the course. Readings/topics may relate to one or more of the following: disability theory and the relationship of art to self-care; the relationship of visibility politics to current impulses in painting; the relationship of art to work, labor and leisure; the case of 'zombie formalism' and market effects on painting trends; the role of autobiography in art making and painting practices in particular. Mandatory individual studio critiques of 45-60 minutes each; weekly written outlines/quick bullet-point responses to one or more class readings; mandatory attendance to VAP lectures and other lectures if scheduled at same time as seminar class; final paper consisting of a critical review of a painting exhibition currently on view in Chicago.
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Credits |
DepartmentLocation |
| Wksp: Process/Project | 5001 (001) | Beth Nugent | Mon
12:15 PM - 3:00 PM In Person |
Description
This is a class for students to work on a single, extended writing (or writing-related) project of any sort, involving any media- this can include traditional literary forms (linked short prose works, poem sequences)- as well as cross-disciplinary forms (e.g. graphic novel, performance, music or sound piece) and non- traditional formats and venues- (public space writing project, zines, comics). Your project can be made up of many disparate parts, but those parts should be part of a single whole. Your project does not have to focus primarily on writing, but writing should be an integral part of the project's conception. This is not a traditional workshop that focuses on presentation and group critique of work, but rather a forum for articulating and discussing ideas and process as you work through a project-so while the class will include presentation and discussion of your work, we will approach it from a process- oriented perspective that focuses on open-ended questioning and exploring rather than intervention and critique. You can be at any stage in your project (beginning, middle, end), but if you haven't begun it, you should have articulated a clear enough sense of it both to begin work by the first class and remain committed to it through the last. Graduate students from all disciplines, working in all media, are welcome.
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DepartmentLocation |
| CAPX Internship - GR | 5001 (001) | Joshua Rios |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
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Class Number |
Credits |
DepartmentLocation |
| Graduate Painting and Drawing Seminar | 5001 (002) | Robert Burnier | Wed
6:45 PM - 9:30 PM In Person |
Description
This course looks at the range of concerns that inform and shape the making as well as the reception of paintings in a contemporary context. As a class, we will read, discuss and debate a range of historical and contemporary texts by artists, art historians, cultural theorists and critics on the continuing role and impact of painting as an art form, market force, and culture shaper, along with readings addressing the ability of art --and of painting in particular-- to effect political, ethical, and psychic change on both an individual and a broader social and cultural level. Thematic topics, readings and screenings will vary but are typically chosen in reference to specific VAP or Departmental artist lectures offered during the semester of the course. Readings/topics may relate to one or more of the following: disability theory and the relationship of art to self-care; the relationship of visibility politics to current impulses in painting; the relationship of art to work, labor and leisure; the case of 'zombie formalism' and market effects on painting trends; the role of autobiography in art making and painting practices in particular. Mandatory individual studio critiques of 45-60 minutes each; weekly written outlines/quick bullet-point responses to one or more class readings; mandatory attendance to VAP lectures and other lectures if scheduled at same time as seminar class; final paper consisting of a critical review of a painting exhibition currently on view in Chicago.
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Class Number |
Credits |
DepartmentLocation |
| Wksp:Artists Books & Indie Pub | 5001 (002) | Sally Alatalo | Mon
12:15 PM - 3:00 PM In Person |
Description
Artists' Book & Indie Publishing | This is an opportunity to research and produce independent projects that grapple with the ideas, materials and forms of artists’ books and independent print publishing. Students regularly present their work for discussion and feedback, and participate in independent and small group tutorials as needed. Field trips to local archives, such as the Joan Flasch Artists’ Books Collection, the Ryerson Library and the Newberry Library augment our study. Course work includes active participation in workshops, the development of an annotated bibliography of artists’ books and related critical readings relevant to one's practice, and a final project. This course may assist the development of projects toward the MFA Thesis Exhibition and/or the material presentation of the MFAW thesis. Students from all disciplines are welcome.
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Credits |
DepartmentLocation |
| CAPX Internship - GR | 5001 (002) | Anna Laure Kielman |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
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Class Number |
Credits |
DepartmentLocation |
| Wksp: Poetic Systems | 5001 (004) | Judd Morrissey | Tues
9:00 AM - 3:00 PM In Person |
Description
What do we mean when we say that something is poetic? How would you describe the unique poetics at play within your own work? While contemplation about poetics can be traced back thousands of years, it has surged in the last half-century as artists and scholars attempt to account for the accelerated diversification of creative forms in a rapidly evolving technoculture. This course is a laboratory for experiments that embrace poetics as a way of thinking and making across disciplines. We will explore a selectively broad range of expanded and media-based poetic practices including constraint-based composition, hypertext, digital poetry, performance writing, virtual poetics, and bio-poetry as we discover and develop unique interdisciplinary projects. Open to a multiplicity of influences and outputs, text-centric or otherwise, the course is appropriate to artists with interests in language, semantics, code, and systems. No specific technical experience is required but the course is advanced in its expectation of a self-directed creative commitment and a significant contribution to group discourse in relation to the topic.
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Credits |
DepartmentLocation |
| CAPX Internship - GR | 5001 (004) | Danny Floyd |
TBD - TBD In Person |
Description
This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.
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Class Number |
Credits |
DepartmentLocation |
| Wksp:Prose Poems to Performance | 5001 (005) | Richard O'Reilly | Thurs
6:45 PM - 9:30 PM In Person |
Description
This class is for the poet with a taste for prose or the performer with a zest for language and story, or any artist or scholar intrigued with the connections and potential of prose, poetry and performance. We'll start with models: poems by Anne Sexton and Allen Ginsberg, plays by Harold Pinter, August Wilson and Caryl Churchill, songs from Nina Simone, Joni Mitchell and Bob Dylan, short fiction by Alice Munro, Imogen Binnie and David Sedaris. We'll take them apart and build new ideas out of the bones of the known work. We'll create new work with a goal of making 12 short pieces in the course of the semester, writing sometimes in collaboration, sometimes solo. We will read and respond to the prose poems of Nin Andrews, Lydia Davis, Lynn Emanuel, James Tate, Charles Simic, Wang Ping, Elizabeth Bishop among others. The class will culminate with a performance of your new work.
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DepartmentLocation |
| Wksp: Childhood | 5001 (006) | Rosellen Brown | Thurs
8:30 AM - 11:15 AM All Online |
Description
Workshop: Childhood: Reading, Writing, Remembering Imagining (or re-imagining) childhood is one of the slipperiest challenges a writer of fiction, poetry or memoir can take on. How does one – can one? – write an authentic-sounding child's voice? By what means can we transform our own experience into something artful, coherent and emotionally compelling? From what distance is the story best told, in what kind of language, in what tone – animus, affection or 'objective reportage,' in the spirit of chronicle? We will make brief forays into film and graphic memoir and our reading will range from psychologist Ernst Schactel to brilliant observers of childhood like Vivian Paley, and onward to Babel and Woolf, Elizabeth Bishop and Gwendolyn Brooks and to younger writers like ZZ Packer, Yiyun Li and Uwem Akpan, all of whom have long memories and many (borrowable) strategies for evoking them. This workshop will invite short weekly contributions of real and imagined recollection in any genre – brand-new and provisional – and one longer culminating project.
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DepartmentLocation |
| Direct Access | 5002 (001) | Salvador Jiménez-Flores | Thurs
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary studio seminar based in the ceramics department is designed for grad students interested in exploring the endless possibilities that clay offers as a material adapted into individual studio and research practices. The first portion of this class will be technically based to learn different modes of construction, mold making, as well as different glazing and firing techniques in ceramics. The second portion will be focused on independent projects, advising and critical discussions. Readings will be a combination of history of ceramics, contemporary artist, and technical information. Some of the contemporary artists using clay within contemporary art practice we will study in this course include Cannupa Hanska Luger, Elizabeth Jaeger, Woody De Othello, and more. There will be discussions on the history of ceramics and how contemporary artists use clay in performance, sculpture, design, architecture, and print media. Students should expect to produce a consistent body of work to be presented in a culminating course critique at the end of the session. Junior and Senior-level undergraduate students are welcome to enroll in this course and should email the instructor to seek authorization to register.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| The Image, Power and Difference | 5002 (001) | Lisa M Zaher | Tues
8:30 AM - 11:15 AM All Online |
Description
Moving from the 19th to the 21st centuries, this course explores various social, political, and cultural uses of visual media in the construction of categories of difference and normativity, with an emphasis on photographic media and moving images more broadly, while presenting an array of creative strategies devised to evade and subvert these exercises of power. The course explores the ways in which visual media is complicit in the production of a wide array of forms of difference, and to the normalization of oppression and inequality. Highlighting key moments in the history of art and visual culture, we will confront head-on the intersecting violences of white supremacy, heteronormativity, misogyny, racism, homophobia, transphobia, Islamophobia, anti-Semitism, ableism, and the many other ideologies of oppression, exclusion, and devaluation.
PrerequisitesThis course is primarily for incoming MFA students, and students should only take this survey once. |
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Credits |
DepartmentLocation |
| Psychopathology | 5002 (002) | Richard Reinhardt | Fri
8:15 AM - 11:15 AM In Person |
Description
This course presents the central concepts of contemporary mental health diagnosis (DSM-IV). Emphasis is placed on etiology, terminology, and symptom profiles. This material provides art therapy students with a conceptual foundation shared by a variety of medical and mental health practitioners.
PrerequisitesYou must be a Masters of Art in Art Therapy student or have instructor consent to take this class. |
Class Number |
Credits |
DepartmentLocation |
| Psychopathology | 5002 (003) | Richard Reinhardt |
TBD - TBD All Online |
Description
This course presents the central concepts of contemporary mental health diagnosis (DSM-IV). Emphasis is placed on etiology, terminology, and symptom profiles. This material provides art therapy students with a conceptual foundation shared by a variety of medical and mental health practitioners.
PrerequisitesYou must be a Masters of Art in Art Therapy student or have instructor consent to take this class. |
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Credits |
DepartmentLocation |
| Research and Production | 5004 (001) | Joseph Grigely | Tues
8:30 AM - 11:15 AM In Person |
Description
This graduate-level course immerses students in research methods and resources for use in their Visual and Critical Studies coursework and their theses. Guest speakers include librarians and curators. Students combine study of general research information with the pursuit of individual research projects directed by the instructor. [This is a required course for first-year students in the MA in VCS program.]
PrerequisitesOpen to MAVCS students only. |
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Credits |
DepartmentLocation |
| Graduate Photography Seminar | 5006 (001) | Oliver Sann | Tues
8:30 AM - 11:15 AM In Person |
Description
This graduate level studio seminar course is a hybrid of reading, discussion, making and critique, designed to pursue positions in historical and contemporary philosophy, critical analysis, and current thought relevant to photography and visual literacy. Throughout the semester, the course aims to explore the past and future of visual media and to look at its discourse in relation to life as an artist in the greater realm of culture, society and politics. Course programming includes critical readings, short and informal writing assignments, work and research presentations.
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DepartmentLocation |
| FVNM Sem: Autoethnography | 5009 (001) | Tirtza Even | Wed
8:30 AM - 11:15 AM In Person |
Description
The seminar will explore the concept and implementation of autoethnography in film and video work (both single channel and installation) through readings, viewings and in-depth critique of students’ studio work. Readings will include Catherine Russell, Paige Sarlin, Pooja Rangan, Alisa Lebow, W.G.Sebald and Trinh T. Minh-ha as well as Walter Benjamin’s Arcades Project, Deleuze’s analysis of the fold, Stuart Hall's 'Cultural Identity and Cinematic Representation' and others.
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DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (001) | Anne Harris |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
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Credits |
DepartmentLocation |
| Research in Art Therapy | 5009 (002) | Marshaé A. Sylvester | Fri
12:15 PM - 3:15 PM In Person |
Description
In this course the student will explore the theories, principles, methods, and techniques used for conducting research in art therapy. Various models of qualitative and quantitative research from art therapy and related fields will be presented and discussed.
PrerequisitesYou must be a Masters of Art in Art Therapy student or have instructor consent to take this class. |
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Credits |
DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (002) | Arnold Kemp |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
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Credits |
DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (003) | Judith Geichman |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
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Credits |
DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (004) | Richard Hull |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (005) | Shannon Stratton |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (006) | Frank Piatek |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
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DepartmentLocation |
| AT Sem:Art & Biotechnology | 5010 (001) | Edward Kac | Tues
12:15 PM - 3:00 PM All Online |
Description
Since the early 1960s the social impact of computer technology has been a dominant issue and since the early 1980s the digital revolution has been provoking profound changes in the way we live. Now, as we move into the twenty-first century, we realize that the next frontier of artistic and technological investigation is biology. The field of biological studies is changing from a life science into an information science. Biosemiotics, for example, is an interdisciplinary science that studies communication and signification in living systems. Biotechnologies are introducing complex ethical issues, such as the patenting and sale of genes. Genetic engineering is transforming forever how society approaches the notion of 'life.' A few contemporary artists have been responding to this change and are already working with modified bacteria, interspecies communication, and hybridization techniques to redefine the boundaries between the artwork and living organisms. This seminar discusses the complex and fascinating relationship between biology and art in the larger context of related social, political, and ethical issues.
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| Top: Automatic for the People | 5010 (002) | Kristi Ann McGuire | Tues
6:45 PM - 9:30 PM In Person |
Description
In 1976, as noted by a recent Viewpoint Magazine piece, Johnny ?Guitar? Watson, a former sessions player for Frank Zappa, whose landmark West Coast funk compositions effortlessly fused his auto-theoretical ?gangster of love? persona with post-soul, pre-discotheque blues guitar, released the eponymous single from his album Ain?t That A Bitch?the same year Milton Friedman won the Nobel Prize in Economics. And I quote: ?Everything is outta pocket! / Somebody do something! / The present situation is abstract!? In 2015, James Franco committed to film the character ?Alien,? purportedly based on real-life Houston-based rapper Riff Raff (who has a giant tattoo on his chest of Bart Simpson holding a beaker that reads,?The Freestyle Scientist?). Right around the time of Friedman?s victory speech (titled ?Inflation and Unemployment,? and dedicated to the memory of Alfred Nobel), Dr. Funkenstein (George Clinton, the ?cool ghoul with the funk transplant') and his Holy Mothership began to hover around a new consumer class of Thumpasorus peoples, just as Parliament-Funkadelic?s cosmological dispersion mirrored another kind of outsourcing?paraphrasing here, but why not put the jobs someplace they?ve never been perceived to be, like a spaceship. Funk, then the history of automation, then aliens. The shared history isn?t some mute-poetic post-automatic ontological flirtation: it?s embedded in Kurt Vonnegut?s first novel Player Piano, and intertwined with the anomie registered by the twentieth century?s increasing alienation of assembly line workers and e-commerce representatives. In 1963, Detroit autoworker and Marxist activist James Boggs wrote The American Revolution: Pages from a Negro Worker?s Notebook, about his experiences on the Chrysler assembly line, where he presupposed a new generation of the working class made obsolete by advances in heavy labor automation, left without a body to sell or their own labor-power to broker the deal. How did blip blip Marx?s Labor Theory of Value 010101 Space is the Place Where I Go All Alone take us through deregulated technocratic neoliberalism and to the other side: via the simulated proprietary satellite mapping that Curtis Mayfield may or may not have fever-dreamed in ?Diamonds in the Back?? We know that it knows the Waze to your Uber Pool?s rendezvous with the Awesome Power of a Fully Operational Mothership (T.A.P.O.A.F.O.M.)? ?Abdul Jabar couldn?t have made these prices/with a sky hook.? Long story short: funk emerged in the waning days of Fordism?s hold on the American economy, before drums largely lived in machines and workers were brokered out of politics. Funk parallels Jimmy Hoffa, Wattstax, the death of Henry Ford?s crony Harry Bennett, the arguments of Jefferson Cowrie?s Last Days of the Working Class, Dock Ellis throwing a perfect game on LSD, the goddamned Deer Hunter, stagflation, the threat of nuclear annihilation and concerts mounted against such, pro-labor PACs, Betty Davis?s ?Politician Man,? two energy crises, the Business Roundtable Lobby, Bootsy Collins dropping acid and flipping over the handlebars of his road bike in the middle of the woods triggering an out of body experience, and good ol? monetarist theory. P-Funk?s Mothership is now in the Smithsonian Museum. ?Strike on Computers!,? as Watson suggested. I once climbed through a window of the abandoned Studebaker-Packard Plant one Detroit afternoon in 1996 and cut my foot on a shard of glass perhaps manufactured in the form of a Pepsi bottle at the Mack Avenue warehouse two blocks away or two decades before. I bled for a while through an anklet, but then we listened to the Fugees cover Roberta Flack?s ?Killing Me Softly? on someone?s CD of The Score (playback technology developed by the Advent Corporation) the rest of the ride home.
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