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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.

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.

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.

Consider the ordinary and extraordinary, the word and world, this color, this art, this way of seeing and being. Writing topics are various in this writing course, but learning objectives are the same: for students to discover the complexity of their thinking through exploration and inquiry and to broaden their expressive and analytical skills. Readings will include writings by essayists, naturalists, and artists. Students maintain a writer¿s notebook, prepare short compositions, and write and revise several essays.

This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.

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.

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.

This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections.
Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial.

This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.

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.

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.

This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about travel 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. Writer Pico Iyer says, ¿We travel, initially, to lose ourselves; and we travel, next, to find ourselves.¿ New places are alluring. New places are disruptive. In this course, we¿ll read accounts of those who ventured to distant lands and discovered new territories within themselves. We will read the likes of Langston Hughes, Bernard Cooper, Jamaica Kincaid, Flannery O¿Connor, George Orwell, Susan Sontag, and others, as we see what these writers found when they lost themselves abroad. Students will join the well-traveled, too, as they write about a not-usual place, even if it¿s right here in Chicago. In addition to short writing assignments and in-class journals, students should expect to write and revise 4 essays totaling 15-20 pages of formal prose.

This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.

This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections.
Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial.

This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.

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.

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.

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.

This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.

This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections.
Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial.

This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.

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.

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.

In our class we will read contemporary poetry from authors responding to historic and current political injustices. We¿ll also read about the political events themselves to gain an understanding of the authors¿ creative works. The poems and poetry collections are written by individuals but they shed light on the political impacts that affect the collective of humanity. Readings often include works by Layli Long Soldier, Ilya Kaminsky, Rajiv Mohabir, and Don Mee Choi. In our FYS I class, 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 15-20 pages in multidraft essays. Students will direct the topic of the final essay based on their individual inquiry into a historic or current political event. 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.

This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.

This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections.
Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial.

This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.

This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.

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.

This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.

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.

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.

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.

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.

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.

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.

This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.

Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.

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.

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.

This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.

Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.

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.

This course will chronologically survey American poetry from its earliest periods to recent times. Students will be introduced to a wide spectrum of the finest poetry ever to be written, including (among others) poems from Phyllis Wheatley, Emily Dickinson, Robert Frost, Jean Toomer, Countee Cullen, e.e. cummings, Langston Hughes, Gwendolyn Brooks, Amit Majmudar, Terrance Hayes, Sherman Alexie, Garrett Hongo, and Natalie Diaz. Individual interpretations will be emphasized and slow-and-close reading will be emphasized, both in class and in formal writing assignments. In addition, students will be introduced to methods of literary study, appropriate terminology, and (art) historical contexts to help orient scholarship¿including how poets across time and space operate and innovate within literary conventions. Students will also write about poetry in both personal responses and formal analyses and will practice the process of writing, including prewriting, drafting, peer reviewing, and revising. FYSe 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.

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.

This writing-intensive course will explore representations of dolls, robots, androids, puppets, artificial intelligence, and other humanoid forms in literature and film. What can childhood characters like Pinocchio and Barbie teach us about becoming human? Why are there so many horror stories involving evil dolls? What do science fiction stories featuring robots and androids reveal about our increasingly automated, technological society? Should we embrace (or maybe even love) AI avatars, or resist them? Via close reading and critical inquiry, we will not only unpack the range of emotions ¿ from humor to sympathy to terror ¿ that humanoids evoke, but moreover connect these fictions to real issues in our own world. Stories and films may include Frankenstein, Blade Runner, The Stepford Wives, Her, and M3GAN. Writing assignments ¿ totaling 15-20 pages over the course of the semester ¿ will emphasize description, analysis, argument, revision, and other academic writing skills.

This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.

Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.

This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.

Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.

This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.

Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.

This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.

Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.

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.

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.

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.

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.

Comprehensive introduction to three-dimensional architectural and interior architectural representation and fabrication. Through individual and group projects, students learn hand-modeling and digital fabrication techniques, and become super-users of the School?s shops and Advanced Output Center. 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 move between two- and three-dimensional representation in the development of robust skills for design communication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.

This intro course will allow students to build upon and deconstruct our preconceived notions of what a 'pot' is. Can a pot be a subversive act of defiance? Can it express pleasure, grief or discomfort? We will explore what a pot can say and do beyond mere function. Investigating materiality, process, and conceptual frameworks the pot will serve as a form through which we?ll unpack issues ranging from the primordial to the celestial. Students will learn technical ceramic processes while examining the histories, practices, and conceptual potentialities of the vessel.

We will look at artists who employ the vessel in their practice in a critical, subversive, personal and humorous ways. Some of the artists include Rubi Neri, Betty Woodman, Kathy Butterly, Theaster Gates, Sahar Khouri, Bari Ziperstein and more. Readings will include excerpts from ?Documents of Contemporary Art: CRAFT? and authors such as Glen Adamson, Edmund de Waal and Tanya Harrod.

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.

¿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.

Please confirm/update desc: Unlike traditional folk fairy tales, intended primarily for children, the German Romantic Kunstmärchen (literary fairy tales) were written for an audience of adults. German Romantic philosophers, who believed in Nature as an ideal and the primacy of the individual creative imagination, saw the fairy tale as the perfect medium for the expression of these ideas. The timeless, mythical qualities of the fairy tale were seen by these thinkers as a way to bring the realm of the supernatural to earth, making the irrational and the magical part of our everyday existence. Unlike the traditional fairy tales, in which everyone lives happily ever after, the Märchen emphasizes the struggle between negative and positive forces in which death and disaster often prevail and man is caught in the tragic dichotomy between the real and the ideal. In this course we will explore these and other themes by reading the works by such authors as Novalis, L. Tieck, E.T.A Hoffman and Kafka. Students should expect to write 20-25 pages of formal, revisable writing, in addition to homework exercises and in-class writing. 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.

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.

Cyber Feminisms explores the intersections of feminism, technology, and digital culture through a research-driven lens. Students will critically engage with a range of topics, including the influence of digital spaces on gender identities, the consequences of algorithmic bias, and the ways marginalized communities use technology for resistance and self-expression. This course will analyze the role of the internet in shaping feminist discourse while developing digital literacies essential for academic writing in the 21st century. Students should expect to write 20 to 25 pages of formal, revisable writing (i.e. a semester-long research-based essay 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 of student papers, and individual meetings to discuss each student¿s writing should be expected.

All FYS 2 students will learn to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in upper-level course work. Students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. This FYS 2 course will explore the interconnected meanings of race, horror, and monstrosity. In particular, we will focus on the presentations and representations of racial difference in the Americas. From Birth of a Nation (1915) to Get Out (2017), and from the transatlantic slave trade to contemporary #BlackLivesMatter movements, African-American struggles for dignity and inclusion have produced ¿philosophies born of struggle,¿ i.e. avenues of critical thought and activism with an eye toward social liberation and freedom from daily fear.

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.

¿One night many years ago, a French family was driving through the North Region of Cameroon when they ran out of gas. As they scrambled to refill the tank, the car was surrounded by a pride of lions. To protect their young daughter, the parents locked her in a metal trunk. The animals circled the vehicle continuously, and to distract herself from danger the girl repeated her own name.¿ Contemporary French director Claire Denis blurs the boundaries between dream and reality. In films such as Chocolat (1988), Beau Travail (1999) and White Material (2009), she constructs a tenuous world in the aftermath of European colonialism. In FYSII, we will expand our critical reading, writing and thinking skills. We will develop a vocabulary of forms¿camera movement, cutting and composition¿to understand the sensory experience of a work of art. We will write two critical essays (20 to 25 pages of formal writing), which will be workshopped in class and revised.

¿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.

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.

This class examines recent social and political controversies surrounding the contemporary art world, including crises stemming from the power dynamics of gender, class, race, disability, sexual orientation, and other political commitments to international solidarity. Building on foundational writing skills learned in FYS I, students will gain historical and political context about specific moments in contemporary art when marginalized social groups and their allies have mounted protests and critiques of institutions, exhibitions, artists, and artworks. Informed by history, social theory, literature, art journalism, art history, visual studies, and other forms of study, students will become familiar with general and specific issues of institutional racism, sexism, ableism, classism, and xenophobia within the art world and how artists worked together for social change and institutional accountability. Students will engage in rigorous argumentation and the development of a self-directed research paper. Students can expect to write 20 to 25 pages of formal, revisable writing (i.e. one article and one research essay, both with multiple drafts), as well as homework exercises and in-class writing. Students can also expect in-class writing exercises with an emphasis on developing reading skills and critical analysis. Other important aspects of the course include peer review, writing workshops, draft reviews, and individual meetings to discuss writing topics and expectations.