Course Search - Degree Programs | School of the Art Institute of Chicago

Roger Reeves

Title	Catalog	Instructor	Schedule
Introduction to Clay	1000 (001)	Javier Jasso	Mon/Wed 6:45 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.	Class Number 1175	Credits 3	Department Ceramics Location 280 Building Rm M152
Reading Art	1001 (001)	Alexander W Jochaniewicz	Fri 3:30 PM - 6:15 PM 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.	Class Number 1014	Credits 3	Department Liberal Arts Location MacLean 816
Ceramics: Wheel Throwing Fundamentals	1001 (001)	Cassandra Scanlon	Mon/Wed 6:45 PM - 9:15 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.	Class Number 1178	Credits 3	Department Ceramics Location 280 Building Rm M153
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (001)	Mikolaj Czerwiński	Thurs 12:15 PM - 3:00 PM In Person
Description 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.	Class Number 1035	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Architecture/Interior Architecture	1001 (001)	Adel Machacca	Mon/Wed 6:45 PM - 9:15 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.	Class Number 1020	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1241
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.	Class Number 1264	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1231
FYS I:Consider This	1001 (001)	Joanna Anos	Tues 12:15 PM - 3:00 PM In Person
Description 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.	Class Number 1330	Credits 3	Department Liberal Arts Location Lakeview - 1427
Introduction to Photographic Image Making	1001 (001)	Cecil McDonald, Jr.	Mon 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1523	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Visual Communication	1001 (002)	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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1815	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Architecture/Interior Architecture	1001 (002)	Adel Machacca	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.	Class Number 1029	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1407
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (002)	Artie Foster	Mon 8:30 AM - 11:15 AM In Person
Description 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.	Class Number 1036	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
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.	Class Number 1265	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1231
FYS I: The Places You'll Go	1001 (002)	Peter Thomas	Wed 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 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.	Class Number 1312	Credits 3	Department Liberal Arts Location MacLean 517
Introduction to Photographic Image Making	1001 (002)	Catherine Gass	Mon/Wed 6:45 PM - 9:15 PM In Person
Description 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.	Class Number 1524	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Visual Communication	1001 (003)	John Bowers	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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1846	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (003)	Joana Konova	Thurs 3:30 PM - 6:15 PM In Person
Description 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.	Class Number 1037	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYS I: Copyrights and Wrongs	1001 (003)	Jennie Berner	Thurs 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.	Class Number 1348	Credits 3	Department Liberal Arts Location MacLean 501
Introduction to Photographic Image Making	1001 (003)	Rachel Herman	Tues 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1525	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Visual Communication	1001 (004)	John Bowers	Fri 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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1849	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (004)	Arianna Ray	Tues 12:15 PM - 3:00 PM In Person
Description 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.	Class Number 1083	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
FYS I: Rebel Verse	1001 (004)	Suman Chhabra	Mon 8:30 AM - 11:15 AM In Person
Description 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.	Class Number 1331	Credits 3	Department Liberal Arts Location MacLean 818
Introduction to Photographic Image Making	1001 (004)	Jan Tichy	Wed 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1526	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Photographic Image Making	1001 (005)	Lali Khalid	Thurs 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1536	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Photographic Image Making	1001 (006)	Oliver Sann	Tues 3:30 PM - 9:15 PM In Person
Description 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.	Class Number 1545	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
FYS I: Writing for Space-Making	1001 (006)	Mika Yamamoto	Wed 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.	Class Number 1350	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYSe: Laughing Matter	1002 (001)	Sophie Goalson	Mon 12:15 PM - 3:00 PM 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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1346	Credits 3	Department Liberal Arts Location MacLean 919
Illustration Technologies Lab	1002 (001)	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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1847	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Arch/Inarch: Design Drawing	1002 (001)	Douglas Pancoast	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.	Class Number 1021	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1407
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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1328	Credits 3	Department Liberal Arts Location Lakeview - 206
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.	Class Number 1022	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1240
Issues in Modern and Contemporary Art	1002 (002)	Alice Maggie Hazard	Fri 8:30 AM - 11:15 AM In Person
Description 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.	Class Number 1039	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1347	Credits 3	Department Liberal Arts Location MacLean 818
Illustration Technologies Lab	1002 (003)	Richard Bresden	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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1841	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Issues in Modern and Contemporary Art	1002 (003)	Risa Puleo	Mon 12:15 PM - 3:00 PM In Person
Description 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.	Class Number 1045	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: American Poetry	1002 (004)	Alexander W Jochaniewicz	Thurs 8:30 AM - 11:15 AM In Person
Description 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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1329	Credits 3	Department Liberal Arts Location MacLean 816
Illustration Technologies Lab	1002 (004)	Richard Bresden	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. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1850	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Queer Spirits and Alternative Histories	1002 (004)	Chris Reeves	Wed 8:30 AM - 11:15 AM In Person
Description 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.	Class Number 1050	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: Dolls, Androids, and AI	1002 (005)	Jennie Berner	Wed 8:30 AM - 11:15 AM In Person
Description 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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 2489	Credits 3	Department Liberal Arts Location MacLean 919
How did Art Become Modern?	1002 (005)	Artie Foster	Fri 12:15 PM - 3:00 PM In Person
Description 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.	Class Number 1047	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Global Modernisms	1002 (006)	Mikolaj Czerwiński	Tues 3:30 PM - 6:15 PM In Person
Description 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.	Class Number 2114	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (007)	Rhoda Rosen	Tues 8:30 AM - 11:15 AM In Person
Description 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.	Class Number 2254	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Contemporary Art	1002 (01S)	James Elkins	Tues 12:15 PM - 3:00 PM In Person
Description 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.	Class Number 1038	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
First Year Seminar Enhanced (EIS)	1003 (001)	Annette Elliot-Hogg	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. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1353	Credits 3	Department Liberal Arts Location MacLean 818
First Year Seminar Enhanced (EIS)	1003 (002)	Diane Worobec-Serratos	Thurs 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. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1354	Credits 3	Department Liberal Arts Location MacLean 818
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. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1355	Credits 3	Department Liberal Arts Location MacLean 112
First Year Seminar Enhanced (EIS)	1003 (004)	Maryjane Lao Villamor	Mon 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. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1356	Credits 3	Department Liberal Arts Location MacLean 818
Design Communication	1004 (001)	Uthman Olowa	Mon 9:00 AM - 3:00 PM In Person
Description 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.	Class Number 1015	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Digital Imaging Location Sullivan Center 1226
FYS II: Americana Music	1005 (001)	Andrew Lindsay	Wed 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1315	Credits 3	Department Liberal Arts Location Lakeview - 205
Potting for Pleasure and Protest	1005 (001)	Liz McCarthy	Thurs 3:30 PM - 9:15 PM In Person
Description 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.	Class Number 1179	Credits 3	Department Ceramics Area of Study Community & Social Engagement, Art/Design and Politics Location 280 Building Rm M153
FYS II:Romantic Fairy Tales	1005 (002)	Irina Ruvinsky	Tues 8:30 AM - 11:15 AM In Person
Description 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1333	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II:Life Account	1005 (003)	Suman Chhabra	Tues 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1334	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Cyber Feminism	1005 (004)	Terri Griffith	Thurs 12:15 PM - 3:00 PM In Person
Description 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1360	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: Race and Horror	1005 (005)	Michael R. Paradiso-Michau	Tues 8:30 AM - 11:15 AM In Person
Description 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1335	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Speech and Voice	1005 (007)	Stephen Williams	Fri 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1359	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: Claire Denis	1005 (008)	Annette Elliot-Hogg	Wed 12:15 PM - 3:00 PM In Person
Description ¿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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1336	Credits 3	Department Liberal Arts Location Sharp 409
FYS II: Past, Present, & Future Chicago	1005 (009)	Joshua Rios	Mon 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1317	Credits 3	Department Liberal Arts Location MacLean 301
FYS II: Recreation & Play	1005 (010)	Raghav Rao	Fri 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1337	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Art World in Crisis	1005 (011)	Joshua Rios	Thurs 8:30 AM - 11:15 AM In Person
Description 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1338	Credits 3	Department Liberal Arts Location MacLean 919
FYS II:Paris Noir	1005 (012)	Anita Welbon	Thurs 3:30 PM - 6:15 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1318	Credits 3	Department Liberal Arts Location MacLean 111
FYS II: Grief in Art	1005 (013)	James Sieck	Wed 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1339	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: Come to Your Senses	1005 (014)	Matilda Stubbs	Thurs 6:45 PM - 9:30 PM In Person
Description This writing intensive First Year Seminar introduces students to the anthropological study of the senses and how to communicate sensory experience through ethnographic writing. By close examination of ethnographic texts, films, podcasts, and other multimedia, students will explore how cultures 'make sense' of the everyday and increasingly globalized world. With 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1358	Credits 3	Department Liberal Arts Location MacLean 111
FYS II:Identity:Ind/Cult/Soc	1005 (015)	Christine M Malcom	Thurs 3:30 PM - 6:15 PM 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1319	Credits 3	Department Liberal Arts Location MacLean 620
FYS II:Evolution of Tragedy	1005 (016)	Peter Thomas	Tues 12:15 PM - 3:00 PM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in tragic drama through research and the writing of essays. We will use the research and writing process as a means to achieving insights, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will also be asked to reflect on their development as they work to establish their own research acumen and writing process that will enable them not only to achieve insights, but also to clearly communicate them in assignments for this course and beyond. What is the difference between bad news and tragedy? How can watching the story of a character come to great misery make an audience feel uplifted? We will consider notions of character, fate, tragic flaw, and nobility as they relate to the tragedy. What defines a tragedy? And who is allowed to be a tragic hero? In this course, we will explore the tragic form, from ancient Greek classics to Shakespearean dramas to more modern variations. We will study works by Sophocles, Shakespeare, Arthur Miller, Sophie Treadwell, Suzan-Lori Parks, and Anne Carson. In addition to short writing assignments, in-class journals, and quizzes, students should expect to write and revise 3 essays totaling 20-25 pages of formal prose. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1340	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: Queer Pop Culture	1005 (017)	Terri Griffith	Thurs 8:30 AM - 11:15 AM In Person
Description The influence of the Queer voice in popular culture is undeniable, significantly shaping societal norms. Queer artists influence how gender and sexuality are perceived and represented even by those who do not identify as Queer. Using concepts from Queer Theory, this course will consider a variety of media¿including visual art, film, television, literature, and music. Student essays will investigate the role Queer voices play in contemporary culture. Assignments include critical reading of a variety of texts, essay writing with an emphasis on revision, and a concluding research paper and presentation. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1320	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: Visions of Apocalypse	1005 (018)	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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1321	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: Irish Rebels: 20th-21st century	1005 (019)	Eileen Favorite	Tues 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1341	Credits 3	Department Liberal Arts Location MacLean 919
FYS II:Existentialism	1005 (020)	Irina Ruvinsky	Thurs 12:15 PM - 3:00 PM In Person
Description This course focuses on the philosophical and literary movement known as existentialism. We will approach the material through the existentialist conviction that the philosophical enterprise of addressing questions of meaning in human life is inseparable from the everyday living of that life. Questions that follow quickly on this and other existentialist commitments concern the possibility and value of human freedom: are we free? And is that a blessing or a curse? Can we live authentically, or are we necessarily self-deceived? Can we attain any substantial knowledge and understanding of who we are as individuals? If we can, to what extent do we reach this self-understanding through discovery and to what extent do we reach it creatively, by active effort to make ourselves who we are? What problems arise in having to live in a world with other free agents? And how does God, if there is any such thing, enter into answering these questions? The authors whose work on these themes we will consider include Friedrich Nietzsche, Soren Kierkegaard, Albert Camus, Fyodor Dostoevsky, and Jean-Paul Sartre. In the last section of the course, we will turn to a couple of these existentialist's American counterparts, Ralph Waldo Emerson and Henry David Thoreau. Our themes will not change, but we will find optimism where the traditional existentialists tend toward pessimism. Rather than worrying that life is despair, we find here a commitment to the idea that, in Thoreau's words, when done simply and wisely, 'to maintain one's self on this earth is not a hardship but a pastime.' Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1357	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: Curatorial Complexities	1005 (021)	Diane Worobec-Serratos	Wed 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1342	Credits 3	Department Liberal Arts Location Lakeview - 1608
FYS II: Nuclear Problems & Society	1005 (022)	Aiko Kojima Hibino	Mon 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1322	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: The Interpretation of Dreams	1005 (023)	David B. Johnson	Thurs 3:30 PM - 6:15 PM In Person
Description First-Year Seminars can be thought of as writing studios: their purpose is to help you develop your academic writing skills by practicing writing, revision, and critique. Each FYS course is organized around a topic that orients students¿ writing practice; the topic of this course is the interpretation of dreams. Dreams have fascinated human beings for a long time. Whether understood as a source of inspiration, a cause for amusement, a glimpse into the soul, a pool of diagnostic information, or an everyday process of cognitive housekeeping, dreams have been regarded by some of history¿s most penetrating thinkers as essential to the project of making sense of ourselves and our place in the world. In this course we will investigate the writings of some eminent interpreters of dreams, and through the writing process we will develop our own interpretations in response to their ideas. Our readings will draw upon ancient and medieval philosophy (Aristotle, Zhuangzi, Augustine), early psychoanalysis (Freud, Jung), and contemporary dream science. In addition to short homework assignments, students will complete two major papers¿a Texts-in-Conversation Essay and a Research Paper¿which will go through multiple rounds of review and revision. Throughout the course, we will focus on strategies and techniques for effective writing, including idea-generation, composition, revision, and argument-construction. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1323	Credits 3	Department Liberal Arts Location MacLean 301
FYS II: Food and Culture	1005 (024)	Kate Lechler	Thurs 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1352	Credits 3	Department Liberal Arts Location MacLean 816
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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1325	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: (Still) Life-Writing	1005 (027)	Aaron Greenberg	Fri 3:30 PM - 6:15 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1343	Credits 3	Department Liberal Arts Location MacLean 608
FYS II: How to Read a Poem	1005 (029)	Zachary Tavlin	Wed 12:15 PM - 3:00 PM In Person
Description FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. This first-year seminar focuses our attention on poetry. While it's common for students to find poems baffling or even alienating, we will practice the kinds of reading skills and receptive states of mind that open poetry up to understanding and enjoyment. By reading, discussing, and writing about a small number of short poems every week-drawn from a variety of poets, periods, and places-we will see how reading poetry well does not require elite or occult knowledge but patience, interest, attention, and curiosity. Students will practice reading slowly and closely and writing about poetry in a way that reproduces that slowness and closeness in their own prose. Students should expect to write 20 to 25 pages of formal, revisable writing-including a research essay-in addition to homework exercises and in-class writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1344	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: What is X?	1005 (030)	Kerry Balden	Thurs 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1327	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Philosophy and/of Love	1005 (031)	Guy Elgat	Wed 8:30 AM - 11:15 AM In Person
Description This class explores some of the basic questions and issues in the philosophy of love, from ancient Greece to the contemporary world. What is the nature of love? WHat is Platonic love? What does love demand of us? How is romantic love sensitive to the social context in which we find ourselves in contemporary, capitalist, society? Texts include Plato's Symposium, Badiou's In Praise of Love, and Illouz's Consuming the Romantic Utopia (excerpts). 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2248	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Human Subjects	1005 (06S)	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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1316	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: Writing and Walking	1005 (25S)	Suzanne Scanlon	Mon 12:15 PM - 3:00 PM In Person
Description This course invites students to explore the relationship between walking and writing-two practices that open space for reflection, discovery, and transformation. Writers and artists have long turned to walking as a way of seeing differently, of mapping inner and outer landscapes, of lingering, wandering, or breaking free. In this first-year writing seminar, we will read and write with walking in mind, considering how movement through city streets, rural paths, and unfamiliar places shapes identity, knowledge, escape, and transcendence. Our texts will treat walking as both subject and structure. Authors and artists may include Virginia Woolf, Frank O¿Hara, Agnès Varda, Rebecca Solnit, Harryette Mullen, Garnette Cadogan, Sheila Heti, T Clutch Fleischmann, and Carmen Maria Machado. Together, we will ask how movement shapes thought, memory, perception, and creativity, and what it means for writing to carry the rhythm of a walk. Students will develop their own writing practices in dialogue with these works, producing essays that experiment with form as well as argument. Over the semester, they will complete 20¿25 pages of formal, revisable writing, culminating in a final research project that considers walking as a method for making meaning. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1324	Credits 3	Department Liberal Arts Location Lakeview - 202
FYS II: Honoring the 'I' in Exploration	1005 (28S)	James Sieck	Mon 6:45 PM - 9:30 PM In Person
Description Being a young adult is a continual act of becoming; an ongoing act of discovery. An essential part of this process is attempting to figure out your relationship with the world around you. Amidst a sea of internalized forces, you are fighting to develop your own voice; you are exploring your relationship with the people, places, and ideas you encounter everyday; and, you are searching for an understanding of yourself. What an amazing and complicated and difficult and impossible and beautiful time of life! So, it is necessary that you have the time, space, and tools to help develop this relationship with yourself and the world around you. In this second semester course, we will read and analyze some of the best creative nonfiction and long-form journalism writers in the world today. We will use these authors as models for our own exploratory writing about our own lives and interests. What are you curious about? What are you passionate about? What are you learning about yourself and your relationship with the world around you? In order to examine these essential questions, we will use both the Dear Universe¿ letter writing project and a series of inquiry-based essays to help explore our interests and practice the essential writerly moves that the best writers utilize. Sources may vary, but expect to read and analyze a diverse collection of authors, including: Jhumpa Lahiri, Jia Tolentino, David Foster Wallace, Amy Tan, Wesley Morris, Daniel Suarez, Ta-Nehisi Coates, Megan Garber, Chimamanda Adichie, John Green, Karen Russel, Nikole Hannah-Jones, and Tanner Laguatan.. Students will learn how to formulate meaningful research questions, vet 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1345	Credits 3	Department Liberal Arts Location MacLean 112
Introduction to Fashion, Body, and Garment	1010 (001)	Kylee Marisa Alexander	Fri 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 1361	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Introduction to Fashion, Body, and Garment	1010 (002)	Janet Kang	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 1362	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
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 1382	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Foundations Writing Workshop	1011 (001)		Fri 12:15 PM - 3:00 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 1013	Credits 3	Department Liberal Arts Location Sharp 409
Core Studio Practice II	1011 (001)	AJ McClenon, Alison Ruttan	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. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (001)	AJ McClenon, Alison Ruttan	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. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (002)	Troy Daniel Briggs, Assaf Evron	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. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (002)	Troy Daniel Briggs, Assaf Evron	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. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (003)	Sarah Jean Belknap, Joseph David Belknap	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. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (003)	Sarah Jean Belknap, Joseph David Belknap	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. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (004)	David Lozano, Mikey Peterson	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. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (004)	David Lozano, Mikey Peterson	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. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (005)	Benjamin Melamed Pearson, Maria Gaspar	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. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (005)	Benjamin Melamed Pearson, Maria Gaspar	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. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (006)	Christine Anne Shallenberg, Claire Fleming Staples	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. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (006)	Christine Anne Shallenberg, Claire Fleming Staples	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. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (007)	Anna Laure Kielman, Elena Ailes	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. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (007)	Anna Laure Kielman, Elena Ailes	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. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (008)	Pablo R Garcia, Xi Li	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. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (008)	Pablo R Garcia, Xi Li	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. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (009)	Tom Burtonwood, 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. Prerequisites Open to Freshmen only.	Class Number 1237	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (009)	Tom Burtonwood, 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. Prerequisites Open to Freshmen only.	Class Number 1237	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (010)	AJ McClenon, Susan Giles	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. Prerequisites Open to Freshmen only.	Class Number 1238	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (010)	AJ McClenon, Susan Giles	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. Prerequisites Open to Freshmen only.	Class Number 1238	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (011)	Kirsten Leenaars, Ruby Que	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. Prerequisites Open to Freshmen only.	Class Number 1239	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (011)	Kirsten Leenaars, Ruby Que	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. Prerequisites Open to Freshmen only.	Class Number 1239	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (012)	Hope Roberts Esser, John Henley	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. Prerequisites Open to Freshmen only.	Class Number 1240	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (012)	Hope Roberts Esser, John Henley	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. Prerequisites Open to Freshmen only.	Class Number 1240	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (013)	Lise Haller Baggesen, Michelle Bolinger	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. Prerequisites Open to Freshmen only.	Class Number 1241	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (013)	Lise Haller Baggesen, Michelle Bolinger	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. Prerequisites Open to Freshmen only.	Class Number 1241	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (014)	Benjamin Melamed Pearson, Rebecca Beachy	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. Prerequisites Open to Freshmen only.	Class Number 1242	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (014)	Benjamin Melamed Pearson, Rebecca Beachy	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. Prerequisites Open to Freshmen only.	Class Number 1242	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (015)	Rachel Niffenegger, Pablo R Garcia	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. Prerequisites Open to Freshmen only.	Class Number 1243	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (015)	Rachel Niffenegger, Pablo R Garcia	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. Prerequisites Open to Freshmen only.	Class Number 1243	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (016)	Loretta Bourque, Troy Daniel Briggs	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. Prerequisites Open to Freshmen only.	Class Number 1244	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (016)	Loretta Bourque, Troy Daniel Briggs	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. Prerequisites Open to Freshmen only.	Class Number 1244	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (017)	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. Prerequisites Open to Freshmen only.	Class Number 1245	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (017)	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. Prerequisites Open to Freshmen only.	Class Number 1245	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (018)	Joseph David Belknap, Sarah Jean Belknap	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. Prerequisites Open to Freshmen only.	Class Number 1246	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (018)	Joseph David Belknap, Sarah Jean Belknap	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. Prerequisites Open to Freshmen only.	Class Number 1246	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (019)	Andrew Martin Roche, Kris Derek Hechevarria	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. Prerequisites Open to Freshmen only.	Class Number 1247	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (019)	Andrew Martin Roche, Kris Derek Hechevarria	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. Prerequisites Open to Freshmen only.	Class Number 1247	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (020)	Caleb Michael Yono, Stevie 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. Prerequisites Open to Freshmen only.	Class Number 1248	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (020)	Caleb Michael Yono, Stevie 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. Prerequisites Open to Freshmen only.	Class Number 1248	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (022)	Delano Dunn, Steve Amos	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. Prerequisites Open to Freshmen only.	Class Number 1250	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (022)	Delano Dunn, Steve Amos	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. Prerequisites Open to Freshmen only.	Class Number 1250	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (023)	Kitty Rauth, Maria Burundarena	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. Prerequisites Open to Freshmen only.	Class Number 1251	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (023)	Kitty Rauth, Maria Burundarena	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. Prerequisites Open to Freshmen only.	Class Number 1251	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (024)	Stevie Hanley, Caleb Michael Yono	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. Prerequisites Open to Freshmen only.	Class Number 1252	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (024)	Stevie Hanley, Caleb Michael Yono	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. Prerequisites Open to Freshmen only.	Class Number 1252	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (025)	Zachary Hutchinson, Nancy Sanchez Tamayo	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. Prerequisites Open to Freshmen only.	Class Number 1262	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (025)	Zachary Hutchinson, Nancy Sanchez Tamayo	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. Prerequisites Open to Freshmen only.	Class Number 1262	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice I: Transfers	1012 (001)		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. Prerequisites Open to Freshmen only.	Class Number 1253	Credits 3	Department Contemporary Practices Location Sharp 332
Core Studio Practice I: Transfers	1012 (002)	Julietta Cheung	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. Prerequisites Open to Freshmen only.	Class Number 1254	Credits 3	Department Contemporary Practices Location Sharp 315
Core Studio Practice I: Intensive	1014 (001)	Laura Davis	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. Prerequisites Open to Freshmen only.	Class Number 1255	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice I: Intensive	1014 (002)		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. Prerequisites Open to Freshmen only.	Class Number 2098	Credits 3	Department Contemporary Practices Location Sharp 331, Sharp 332
Core Studio Practice II: Intensive	1015 (001)	Laura Davis	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description The continuation of Core Studio Practice I. Prerequisites Open to Freshmen only.	Class Number 1256	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II: Intensive	1015 (002)		Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description The continuation of Core Studio Practice I. Prerequisites Open to Freshmen only.	Class Number 2099	Credits 3	Department Contemporary Practices Location Sharp 331, Sharp 332
Survey of Modern and Contemporary Painting	1017 (001)	Mark Krisco	Thurs 12:15 PM - 3:00 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 1048	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Research Studio I	1020 (001)		Tues 3:30 PM - 9:15 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. Prerequisites Open to Freshmen only.	Class Number 1225	Credits 3	Department Contemporary Practices Location To Be Announced
Research Studio I	1020 (002)	Rebecca Beachy	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. Prerequisites Open to Freshmen only.	Class Number 1226	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio I	1020 (004)	Loretta Bourque	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. Prerequisites Open to Freshmen only.	Class Number 1228	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio I	1020 (005)	Benjamin Melamed Pearson	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. Prerequisites Open to Freshmen only.	Class Number 1263	Credits 3	Department Contemporary Practices Location Sharp 410
Research Studio I: Transfers	1021 (001)		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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1257	Credits 3	Department Contemporary Practices Location Sharp 1215
English for International Students: English Language Fluency	1021 (001)	Jacqueline M Rasmussen	Mon 12:15 PM - 3:00 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.	Class Number 1290	Credits 3	Department Liberal Arts Location MacLean 501
Research Studio I: Transfers	1021 (002)	Julietta Cheung	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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1258	Credits 3	Department Contemporary Practices Location Sharp 331
English for International Students: English Language Fluency	1021 (002)	Maryjane Lao Villamor	Wed 12:15 PM - 3:00 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.	Class Number 1298	Credits 3	Department Liberal Arts Location MacLean 501
Research Studio I: Transfers	1021 (003)	Alison Ruttan	Fri 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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1259	Credits 3	Department Contemporary Practices Location Sharp 332
Research Studio I: Transfers	1021 (004)		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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1260	Credits 3	Department Contemporary Practices Location Sharp 329
RS: Play and Belonging	1022 (001)	Alex Cohen	Mon/Wed 6:45 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1224	Credits 3	Department Contemporary Practices Location Sharp 329
RS: Kitsch, Color, and the Sublime	1022 (002)	David Lozano	Mon 9:00 AM - 3:00 PM In Person
Description This course explores bold, excessive, and emotionally charged gestures in art, focusing on artists who challenge traditional aesthetics through vibrant color, unconventional materials, and provocative themes. From rhinestones and glitter to deeply personal narratives, we¿ll examine the ways artists embrace what has been dismissed as ¿low-brow¿ to create powerful, meaningful work. Artists such as Nick Cave, Kehinde Wiley, Jeffrey Gibson, Jim Hodges, Pepón Osorio, and Ebony Patterson will guide our conversations and projects, as we consider how personal and cultural histories intersect with contemporary aesthetics. Adding to this discourse will be the big ideas found in the sublime ¿ historically and today. As we ask what makes something ¿truly awesome,¿ we¿ll explore the sublime¿s power in both art and everyday life. Students will produce three artworks for critique, with at least one project developed as an installation. Readings will include writing on the Sublime by Edmund Burke, chapters from David Batchelor¿s Chromophobia, and Susan Sontag¿s Notes on Camp. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1185	Credits 3	Department Contemporary Practices Location Sharp 315
RS: Killing Joke: Humor and the 'Modern'	1022 (003)	Benjamin Melamed Pearson	Mon 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 metaphysics of Robert Gober (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 excerpts from: Henri Bergson, Simon Critchley, Tina Post, Sigmund Freud, Eve Sedgwick, Stuart Hall, Sianne Ngai, Lauren Berlant, Todd Mcgowan. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1186	Credits 3	Department Contemporary Practices Location Sharp 407
RS: At The Movies!	1022 (004)	Delano Dunn	Mon 9:00 AM - 3:00 PM In Person
Description 'Movies can communicate concepts, ideas and stories. They allow us to be cognitively transported to a different time or a place, and experience life through different eyes- gaining new perspectives, inspiration and understanding' - Tom Sherak, President of the Academy of Motion Picture Arts and Sciences How can film, popular films, affect the way we view the world? Yes, we are in an art institution where 'art' films perhaps are seen as the gold standard, but before you knew what an 'art' film was you knew and were exposed to popular movies/films. And that exposure, whether conscious or subconscious, has affected the way you view the world and communicate. This class gives students the opportunity to explore, process, and create works that take a deep dive into how moving images can impact the way an artist approaches and creates works that are, you might say, static. To be clear this class is not a film appreciation class, film making class, film history class, or an 'art' film class. This class is an investigation into the popular movie/film experience. Films such as Alien, Kids, Weekend At Bernie's, Halloween, and The Breakfast Club, amongst others will be shown. Project Example: Reflecting on the Birth of A Nation, Song of The South, Paris Is Burning and Philadelphia, create a new work reflecting on Othering; how that action can play out, whether it is being Othered or Othering. Consider exploring the experience of different marginalized groups as fact based research, conversation, and openess on the experiences of others leads to empathy. Note: Student will watch films with, violence, racist depictions, sexual assault, trans and homophobia, and very harsh language. Trigger warnings will be given prior to watching the films. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1187	Credits 3	Department Contemporary Practices Location Sharp 410
RS: Within Orbit: Exploring Revolutions of Time, E	1022 (005)	Rebecca Beachy	Mon 9:00 AM - 3:00 PM In Person
Description Artists exist within multiple orbits¿seasons and cycles of time on earth. This course investigates how these contexts, from the microscopic to the cosmic, influence creative work. Students will learn to see their research interests in a new light by practicing deep attention to materials, networks and cycles evident in their life and work. The course emphasizes building deeper relationships with time and materiality as a pathway to gaining perspective and creating more meaningful and resonant art. Activities include two primary creative projects followed by a revision, regular journaling, short material experiments, and in-class writing/drawing prompts, and discussions inspired by various artists and readings from Ursula K. Le Guin, Robin Wall Kimmerer, Marcia Bjornerud, and Samantha Harvey, among others. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1188	Credits 3	Department Contemporary Practices Location Sharp 1216
RS: Making Words Things	1022 (006)	Joshua Rios	Tues 9:00 AM - 3:00 PM In Person
Description Making Words Things examines the relationship between language and contemporary art through a research-driven practice. We will consider the physicality of text (billboards, store signage, and the pages of a book), alongside the many ways that language as a form of communication and symbols informs artists. We will also use writing as part of our process and examine literature that feels more like collage than narrative (cut-up and collage poetry). Beyond the basic framework of writing and text as materials to be explored, this course prioritizes artists who have been historically marginalized because of their social identities. There are three major projects, which can include any media combination, as well as various exercises related to publishing as practice, community workshops, public interventions, and translation. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1189	Credits 3	Department Contemporary Practices Location Sharp 410
RS: Artist/Curator: One Thing is Next to the Other	1022 (007)	Troy Daniel Briggs	Tues 9:00 AM - 3:00 PM In Person
Description In this course we will focus on the dynamic relationships between objects, audience, 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 and private 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. There will be shorter assignments (readings, curatorial games, proposals and the such) up until midterm preparing students for the final project where you will research, direct and curate a show at the school. Art exists now and has always existed in a landscape far beyond the gallery walls. We will look at everything from your pocket to international art fairs. Curation is an act of care taking and we will look at it as a way of seeing, being and engaging. Throughout the semester we will step into both worlds of artist and curator and by the end of the semester your footing, your practice will be strengthened through it. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1190	Credits 3	Department Contemporary Practices Location Sharp 329
RS: Monsters: Art and Ethics	1022 (008)	Alison Ruttan	Tues 9:00 AM - 3:00 PM In Person
Description The book Monsters: A Fans Dilemma' 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 politics, art, literature and film. Assignments may explore quasi-fictional narratives, monstrous beauty, 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, Takashi Murikami, Cindy Sherman, Lee Bul, Alex Da Corte. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1191	Credits 3	Department Contemporary Practices Location Sharp 310
RS: I Want to Believe	1022 (009)	Sarah Jean Belknap	Tues 9:00 AM - 3:00 PM In Person
Description How do we place ourselves in the universe? How did our planet, the only one we know that contains life as we know it, come to be? How big is our universe? For millennia, people have sought to understand the origin of the heavens, and the stars in the sky. Myths, religion, conspiracy theories, and science have pondered, explored, and hypothesized these questions and continue to do so. This class will explore wonder and curiosity in relationship to our universe and how we as humans fit into it. The works of Artists Wengechi Mutu, Katie Paterson, Vija Celmins, Alma Thomas, and Trevor Paglan will act as primary points of departure for our exploration in this course. We will ponder these questions through readings and art-making using various materials and mediums. Students should expect to create a body of work consisting of 3-5 finished pieces during the semester that explore our environment, space and the awe it creates deep in our hearts. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1192	Credits 3	Department Contemporary Practices Location Sharp 1215
RS: Are we in a Simulation?	1022 (010)	Joseph David Belknap	Tues 9:00 AM - 3:00 PM In Person
Description Do you ever feel detached from reality? (Deja Vu, Glitches, Dreams, Futurism, the Quantum) Is the Earth a living being? (Gaia Hypothesis, Symbiotic Earth) If the smallest things we know can be coded, is it possible everything is a program powered by the Sun? Does consciousness extend beyond humans? Could everything be conscious? Has any civilization throughout time and the universe ever made a simulation to the fidelity of our experienced reality? Are we in base reality? Are we in a black hole watching our past lives? Over this semester-long RS2 we will read, discuss, and create around the expansive question 'Are we in a Simulation?' Our primary method for making in this class will be 3D animation and modeling. We will learn Blender and utilize other software to build environments, characters, and scans to be output as animations and interactive environments. We will be covering many ideas and training quickly. You will be using in Blender every week so expect to work 3-5 hours outside of class. The content of this course will be in video, podcast, articles, films, and book excerpts - all of which will be accessible with varying learning pathways. Some folks we will be reading or discussing include Neil Degrass Tyson, Carl Sagan, Annie Dillard, James Bridle, Octavia Butler, Jean Painleve, Lynn Margulus, Deleuze and Guattari, Rebecca Solnit, Sara Ahmed, Jean Baudrillard, Hito Steryel, Walter Benjamin, Susan Sontag, Daowoud Bey and more. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1193	Credits 3	Department Contemporary Practices Location Sharp 1216
RS: Play Generation	1022 (011)	Alberto Aguilar	Thurs 9:00 AM - 3:00 PM In Person
Description Playing is distinctive from gaming. Gaming usually has an objective involving winning while play is open ended and results in more play. In this class we will use play as a generative force for research and creating a body of work. What happens in this class and the direction it takes will be dictated by you, your willingness to play and reciprocate others acts of play. Humor, fun and joy are encouraged in this research studio! Artists we will explore include:Jérôme Bel, Gabriel Orozco, Yoko Ono, Miranda July, Francis Alys, Azikiwe Mohammed, Pope L, Sophie Calle, Erwin Wurm, Oliver Herring and others¿ Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1194	Credits 3	Department Contemporary Practices Location Sharp 332
RS: Sound & Image	1022 (012)	James Paul Wetzel	Wed 9:00 AM - 3:00 PM In Person
Description This course emphasizes the relationship between the ear and the eye, sound and image. Students will research and explore how sonics and optics interact and 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, like Kurt Schwitters, Merzbow, Aphex Twin, and Lightning Bolt. Studio projects may culminate in the form of musical performances, installations, or happenings, and collaboration with other students is 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1195	Credits 3	Department Contemporary Practices Location Sharp 407
RS:The Trouble with Wilderness	1022 (013)	Lora Lode	Wed 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1196	Credits 3	Department Contemporary Practices Location Sharp 410
RS: Behind the Scenes: Learning skills to make pro	1022 (014)	Andy Hall	Wed 9:00 AM - 3:00 PM In Person
Description What labor goes into the making of an exhibition? How do artists and designers collaborate to produce projects? How do you really hang a painting? In this course we will explore these questions and more in the studio and within sites of creative production throughout Chicago. We¿ll also learn about effective methods of production used by artist-run spaces, while using the studio and campus for practicing skills essential for the work of a museum preparator. We will study ideas of labor and craft, and our research will take us into a range of spaces off campus including digital production labs, studios, media production facilities, museum spaces, and galleries. In addition to site visits, and studio research, the class will utilize a workshop model that results in several collaborative outcomes while also bolstering individual skills and ideas. Several field trips off campus will utilize public transit. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1197	Credits 3	Department Contemporary Practices Location Sharp 332
RS: Presence as Power: Building the World We Want	1022 (015)	Maria Gaspar	Wed 9:00 AM - 3:00 PM In Person
Description Artists worldwide have used the body to explore various social and political issues through resistance practices, including protest art and public actions. In this course, we will analyze these histories and experiment with forms of embodiment related to systems of power. Students will explore these ideas through three individual and group artistic projects, serving as acts of release and world-building, not limited to any specific media. Together, we will develop ideas about spatial justice, examining both institutional and grassroots forms of creative expression. Artists such as Rose B. Simpson, Theaster Gates, Tania Aguiñiga, Christine Sun Kim, Lawrence Abu Hamdan, and Doris Salcedo, among others, will serve as case studies. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1198	Credits 3	Department Contemporary Practices Location Sharp 310
RS: Architecture and the Self	1022 (016)	Shir Ende	Wed 9:00 AM - 3:00 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1199	Credits 3	Department Contemporary Practices Location Sharp 1216
RS: Now is the New Now	1022 (017)	Steven Heyman	Thurs 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1200	Credits 3	Department Contemporary Practices Location Sharp 407
RS: Acts of Resistance: Wellbeing, Joy, Rest	1022 (018)	Kirsten Leenaars	Thurs 9:00 AM - 3:00 PM In Person
Description This class is an opportunity to re-evaluate your own and cultural beliefs, values, and assumptions around joy, happiness, productivity, rest and play and how this shapes the way you look at the work and the work you make and life in general. Through the making of your own work, readings, written assignments, screenings and discussions, you will examine how joy, rest, play wellbeing can be acts of resistance and a fertile ground for creating and thinking critically. You will look at your own notion of happiness, wellbeing and productivity and look at different cultural and historical concepts of these notions. You will look at how these ideas influence your choices, goals and experiences and in turn shape your lived reality. You will explore in this class how to become more aware of your perceptions, reactions, motivations and how this awareness can help you make choices in your own life, how you engage with the world, as well as in your own art making. We will look amongst others at artists Alexandria Eregbu, Mierle Laderman Ukeles, Sadie Woods, Pablo Helguera, Mel Chin, Greater Good Studio, The Black School, Solitary Gardens, Grecia Palomino, Hanna Che, Harry Julmice, Neldy Germain, Niti Marcelle Mueth, Schaël Marcéus and Thierry-Jean Charles. And read amongst other authors: Audre Lorde, Adrienne Marie Brown, Grace Lee Boggs, Pauline Oliveros, Thich Nhat Hanh, Jonathan Haidt, Miguel Ruiz. Course work will vary, but you will create 3 studio projects, engage in readings and in some writing reflections. You will keep an ongoing research/process book throughout the semester. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1201	Credits 3	Department Contemporary Practices Location Sharp 1216
RS: Take a Chance on Me: Generative Art and Design	1022 (019)	Tom Burtonwood	Thurs 9:00 AM - 3:00 PM In Person
Description Everyday habits produce rhythms and patterns that artists and designers use in their work. Swedish songwriter Björn Ulvaeus built the melody and vocals for Abba¿s 1977 hit song 'Take a Chance on Me' on a 'tck-a-ch' rhythm he would repeat in his head to pace himself whilst running. Over the course of the semester we will explore and research many generative methods for producing creative outcomes in a variety of media. Course activities will center on your own personal research and consider ways to pull systems thinking out of it. In 1969 professor Sonia Landy founded Generative Systems here at SAIC which went on to become what is known today as the Art and Technology / Sound Practices Department. Through this lens we will take a long look back to Dada games, Surrealist strategies, Fluxus Poetry, early Computer made art, New Media Practices, Sports and everyday routines. The course will be divided into three modules. The first will introduce historical systems and games in art. The second will introduce coding, AI and algorithmic practices. The final module will ask students to develop their own generative works from research interests. Each module will culminate with a final outcome presentation and critique. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1202	Credits 3	Department Contemporary Practices Location Sharp 310
RS:Paracosms:Imaginary Worlds	1022 (020)	Amy Vogel	Thurs 9:00 AM - 3:00 PM In Person
Description Developmental psychologists who study child behavior have a term that refers to the companions who inhabit the play world of children, they are called ¿Imaginary Companions.¿ These companions, or friends, are entirely real to a child. Sometimes, as children get older these imaginary friends develop into entire imaginary worlds, what psychiatrists call ¿paracosms¿. The Brontë sisters had a paracosm complete with its own language. Many artists create their own worlds as a way of reimagining or coping with this one. Henry Darger and Adolf Wölfli; both struggled with mental illness and participating in the real world and spent their lives creating their own imagined worlds, complete with invented histories, nations, flags, and, in the case of Wölfli, his own language and musical scores. Contemporary artists like Trenton Doyle Hancock have also created fully developed paracosms as a way of exploring identity, storytelling, and alternative realities. Along with developing your own Imaginary World we will question what role imagined worlds have played in the past and can play in our current world where reality is constantly blurred with AI, social media, reality tv and deep fakes. Imaginary Worlds are often developed as ways to process, communicate and provide hope in a times of crises and oppression. What roles can imaginary worlds play in our world today? This class is open to all but recommended for students who already have, or begun (even if only in their mind!) an existing Imaginary World. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1203	Credits 3	Department Contemporary Practices Location Sharp 1215
RS:Yes, and...	1022 (021)	Susan Giles	Thurs 9:00 AM - 3:00 PM In Person
Description 'Yes, and...' is a method used in improvisational comedy that requires the players to affirm whatever premise they are offered and embrace it as a jumping off point to a new premise. By allowing for endless outcomes, Yes, and... develops innovative thinking strategies, promotes risk taking, embraces the unexpected, and pushes possibilities. In the context of this course, Yes, and... is a means for exploring artmaking. Our studio work will incorporate improv guidelines such as: say yes and add something; consider collaborators and audiences and respond to and heighten their ideas; establish point of view; and make active choices. Readings and discussions will include Chicago's Viola Spolin and her workshops for The Second City comedy theater, 'Improvisation is a human right': Chicago Slow Dance: The AACM in Conversation, Muhal Richard Abrams, George Lewis, and Roscoe Mitchell and 'I Dreamed of Other Worlds': An Interview with Nicole Mitchell, Chicago jazz with ACM and AFRICOBRA, Surrealists' games, Mail Art, collective and collaborative practices of Superflex and Pope. L, repurposed materials in Sarah Sze and Phyllida Barlow's installations, and multidisciplinary practice of Nick Cave, among others. Through student-selected media, we'll examine additive and multi-processes such as collage and assemblage, patterns development, and overlapping spaces in order to experiment, create, build upon, and recreate artworks that stretch and expand our practice. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1204	Credits 3	Department Contemporary Practices Location Sharp 410
RS: OFFLINE	1022 (022)	Laura Davis	Fri 9:00 AM - 3:00 PM In Person
Description In this course, we will put our phones on airplane mode, leave laptops and tablets at home, and make a conscious decision to go offline. Research will be approached as a tactile, observational, and experiential process. We will touch books, explore archives, talk to people, visit places, and examine and manipulate things as primary tools of inquiry. This is not an anti-technology class but a class about being present during our time together. Sketchbooks and material archives will be emphasized. Together we will practice making, noticing, and questioning, finding meaning in attention, process, and connection¿offline. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1205	Credits 3	Department Contemporary Practices Location Sharp 326
RS: Queer Color	1022 (023)	Stevie Hanley	Fri 9:00 AM - 3:00 PM In Person
Description In this course students explore color theory through independent projects with the aid of faculty and various research methods. Color theory is studied psychologically, spiritually, aesthetically, and politically. This course pulls from a diverse range of color theorists and methodologies such as: Josef Albers Interaction of Color, Coloraid, AfriCOBRA, Gilbert Baker, Betty Edwards, and more. Traditional color theory is unpacked and expanded to account for how color has been weaponized and venerated in participation to power, suppression, race, cultural difference, gender, sexuality, and queer peoples. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1206	Credits 3	Department Contemporary Practices Location Sharp 328
RS: NIGHTMOVES	1022 (024)	Elena Ailes	Fri 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1207	Credits 3	Department Contemporary Practices Location Sharp 407
RS: Digital Craft	1022 (025)	Burton Isenstein	Fri 9:00 AM - 3:00 PM In Person
Description This course explores how emerging technologies are redefining craft by merging long-established techniques with new materials and methods of making. Students will examine the handmade market, the influence of the DIY and Maker movements, and how social media and online platforms connect artists with audiences. Hands-on projects will integrate digital tools such as Rhino, 3D printing, and the CP Digital Lab¿s resources with traditional processes like mold making. Students will complete 3¿5 projects that move from concept to prototype, developing inventive approaches to contemporary craft and design practice. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1261	Credits 3	Department Contemporary Practices Location Sharp 315
RS: Waste Not Want Not: Sustainable Art Practices	1022 (026)	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1208	Credits 3	Department Contemporary Practices Location Sharp 310
RS: Downside Up: Examining the Present Through Art	1022 (027)	Julietta Cheung	Mon 9:00 AM - 3:00 PM In Person
Description The course invites artists and designers to examine the profound social, cultural, environmental, and technological changes that shape the everyday. The semester is organized around three zones of inquiry¿the home, the streets, and the studio¿each exploring the impact of contemporary changes on a particular facet of our lived experience. There are three major studio assignments, with opportunities for collaborative experimentations. Inter- and transdisciplinary forms of making are highly encouraged. In addition to lectures, short readings, workshops and field trips, we will study works by artists and designers, such as Amanda Williams, Sharon Hayes, Jes Fan, Pedro Reyes, Tan Lin, Formafantasma, Neïl Beloufa, Pope L., and more. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1209	Credits 3	Department Contemporary Practices Location Sharp 332
RS:Our Bodies are the Battlegroun	1022 (028)	Peter Jorge Fagundo	Tues 3:30 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1210	Credits 3	Department Contemporary Practices Location Sharp 410
RS: Storytelling Alchemy	1022 (029)	Pablo Enrique Monterrubio-Benet	Tues 3:30 PM - 9:15 PM In Person
Description In this course, students will immerse themselves in the transformative power of storytelling across various mediums. Storytelling Alchemy invites students to explore and push the limits of narrative through hybrid forms and interdisciplinary techniques. We will delve into how storytelling serves as a powerful vehicle for personal expression, enabling artists to investigate and communicate personal identities, emotions, and experiences, as well as for cultural exploration, allowing the examination of histories, social dynamics, and collective memory. Additionally, we will look into how storytelling acts as a portal to speculative futures, offering possibilities for imagining new worlds, alternative realities, and future trajectories. Drawing inspiration from the surreal worlds of Alejandro Jodorowsky, Jan Svankmajer, and Frida Kahlo, the dreamlike atmospheres of Maya Deren and David Lynch, and the poetic essay films of Chris Marker and Agnes Varda, students will encounter pioneering artists who have expanded the boundaries of storytelling. Students will be inspired to make work that challenges conventions, creating transformative experiences that captivate, disrupt, and ignite new ways of seeing and understanding the world. Throughout the course, students will develop their own narrative approaches, creating work that reflects their unique voice and vision. Students will work on 3 class assignments and one final project. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1211	Credits 3	Department Contemporary Practices Location Sharp 329
RS: Ghosts & Monuments: Practices in Remembering	1022 (030)	Eliza Fernand	Tues 3:30 PM - 9:15 PM In Person
Description In this course students will research ghostly traditions from their own lineages and delve into the histories of their immediate surroundings by finding local ghosts and public monuments in Chicago. We will consider ghosts as possibilities beyond the paranormal by exploring eco grief and nostalgia, and questioning monuments in a search for transparency around public art. Through studying various hauntologies, students will generate their own research topics that will be the basis for study projects and a proposed monument. We will develop a routine of field trips and individual research and study works by Alexis Pauline Gumbs, Michael Rakowitz, Heidi Lau, Tania Bruguera, Killjoy's Kastle, Félix González-Torres, and Monument Lab. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1212	Credits 3	Department Contemporary Practices Location Sharp 407
RS: You Have Many Teachers / Companion Species	1022 (031)	Kayla Anderson	Tues 9:00 AM - 3:00 PM In Person
Description 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 companion (plant, animal, mineral etc.) to make work in conversation with throughout the semester. 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.¿ 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, 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 a field guide of generative reading and writing exercises. Students may choose to work on a collaborative project / body of work with one or more classmates. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1213	Credits 3	Department Contemporary Practices Location Sharp 407
RS: Latino Art and Collective Resistance	1022 (032)	Armando Román	Thurs 3:30 PM - 9:15 PM In Person
Description Who has the privilege to narrate our lives? What names are placed upon us¿and which ones do we reclaim? This course examines how Latino artists resist systemic racism, anti-immigrant policies, voter suppression, erasure, and violence, using art to testify to struggle and imagine futures beyond dispossession. We will study artists such as Guillermo Gómez-Peña, Coco Fusco, Yvette Mayorga, and Julio Torres, while also considering solidarities across Black, Indigenous, Asian diasporic, and queer communities. Students will create three works informed by research, dialogue, and lived experience. Open to all committed to exploring art, politics, and identity. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1214	Credits 3	Department Contemporary Practices Location Sharp 407
RS: Breathing Bodies in Digital Worlds	1022 (035)	Claire Fleming Staples	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, and working in the digital environment New Art City, with 3-D and video elements. We will be looking at artists like Jacolby Satterwhite, Morehshin Allahyari, Pippoloti Rist, Yayoi Kusama, Tabita Rezaire, D. Denenge Duyst-Akpem, Anti-Body Corporation, Heesoo Leymusoom Kwon, & Peter Burr, and reading texts by Octavia Butler, Robin Wall Kimmerer, Laura Marks, Resmma Menakem , hannah baer and Deborah Kapchan. Class work will include reading discussions, somatic exercises, and world-building workshops as well as technical demonstrations. Students will work in groups and individually on two major video installation projects, one smaller project, and lead a reading discussion. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1217	Credits 3	Department Contemporary Practices Location Sharp 1215
RS: Cheap and Dirty: How to be a deviant artist un	1022 (036)	Sarah Bastress	Thurs 3:30 PM - 9:15 PM In Person
Description This is a class to help you tackle two of the main problems that students face while in school, but more importantly that graduates face once they leave it: 1) How do we make work when our time and money is limited? And 2) how do we make and discuss work about ¿difficult¿ topics? To phrase it more cheaply: This is a class for prudes, perverts, cheapskates, your mom, fairies, bulld@ggers, prissies, sissies, scumbags, dirtbags, sleazebags, and people who like the smell of underbellies. This class will learn from people, artists, and movements who have made a lot with a little. We will have a particular focus on strategies marginalized communities use to come together, make art and/or rebel, as well as question what it means ethically to learn from those strategies both when we are a part of those communities but especially when we are outside of them. This class will revel in naughtiness, filth, and debauchery. This class will also study if, how, and when shock value is effective or hurtful or both. Often, the work we look at will be explicit, with care taken to talk about our needs and boundaries. This class will help us engage with different strategies to discuss and make work with complicated content. We will make as much work as possible, including zines, art books, films, puppets, a drawing every day, a competitive art-show competition a la the food network, go on a ¿roadtrip,¿ build our own personal grottoes, and put on our own group show. This class will be quantity over quality and more about the journey than the destination. We will throw as much as we can at the wall and see what sticks. It will have weekly readings or video viewings because those things are FREE and lots of field trips (to the The Leather Archives, the Center for Native Futures, and Tweet/Big Chicks for example). Artists we will look at will include: Vaginal Davis, John Waters, Guy Fieri, Lee Godie, Laura Aguilar, Simon Rodia, Bill Traylor, Samuel R. Delany, Marlon Riggs, Elisa Harkins, Zoe Leonard, Ana Mendieta, Jim Henson, Henry Darger, Howard Finster, Loy Bowlin, Horace Pippin, David Wojnarowicz, Gregg Bordowitz, Faith Ringgold, Natalie Diaz, Ada Limon, Sun Ra, Joy Harjo, John Cage, Yoko Ono, CAConrad, Nan Goldin, Robert Gober, Robin Hustle, Jenn Smith, Dynasty Handbags, AfriCobra, ACTUP and Gran Fury, fierce pussy, Guerilla Girls, Dark Noise Collective Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1218	Credits 3	Department Contemporary Practices Location Sharp 1216
RS: Truth 'Adjacent'	1022 (037)	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1219	Credits 3	Department Contemporary Practices Location Sharp 213
RS: Seeing Through Cinema	1022 (038)	Emily Eddy	Mon/Wed 6:45 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1220	Credits 3	Department Contemporary Practices Location Sharp 214
RS:Interventions and Transgressions	1022 (039)	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1221	Credits 3	Department Contemporary Practices Location Sharp 216
RS: I Give You My Word	1022 (040)	Larry Lee	Mon/Wed 6:45 PM - 9:15 PM In Person
Description In this course we will explore, employ, and experiment with text, to reference, translate and/or connect to your sense of self and larger community within or without the mainstream. We will consider words in any language as image, object or action, moving or static, to confront or maybe reconcile difference, originating from street as the raw energy of spoken word to the supposed lawless power of graffiti. Voices that are often marginalized seeking to incorporate the concreteness of the written and/or spoken in relationship to the visual. Some of the scholar/artists who will serve as inspiration, if not role models for this course, include Yoko Ono, Cy Twombly, Lawrence Steiner, Joseph Kosuth, Sol Lewitt, Xu Bing, Wenda Gu, I was Born With Two Tongues, Edgar Heap of Birds, Edward Ruscha, Christopher Wool, to name a few. 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1222	Credits 3	Department Contemporary Practices Location Sharp 326
English for International Students: Critique	1031 (001)	C. C. Ann Chen	Wed 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.	Class Number 1299	Credits 3	Department Liberal Arts Location MacLean 111
English for International Students: Critique	1031 (002)	Nat Holtzmann	Mon 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.	Class Number 1306	Credits 3	Department Liberal Arts Location MacLean 111
English for International Students: Tutorial	1035 (001)	C. C. Ann Chen	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.	Class Number 1300	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (002)		Fri 12:15 PM - 1:45 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 1291	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (003)	Aram Han Sifuentes	Fri 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.	Class Number 1301	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (004)	Alicia Castañeda-Lopez	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 1292	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (005)	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.	Class Number 1302	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (006)	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.	Class Number 1293	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (007)	Jacqueline M Rasmussen	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.	Class Number 1303	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (008)	Jacqueline M Rasmussen	Thurs 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.	Class Number 1294	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (009)	Sonia Da Silva	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.	Class Number 1304	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (010)	Sonia Da Silva	Tues 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.	Class Number 1295	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (012)	David P Norris	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 1296	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (013)	Alicia Castañeda-Lopez	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 1305	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (014)	Alicia Castañeda-Lopez	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 1297	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (015)	Suman Chhabra	Wed 12:15 PM - 1:45 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 1307	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (016)	Suman Chhabra	Wed 9:45 AM - 11:15 AM 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 1308	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (017)	David P Norris	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 1309	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (018)	Alicia Castañeda-Lopez	Fri 9:45 AM - 11:15 AM 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 1310	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (019)	Aram Han Sifuentes	Mon 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.	Class Number 1311	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
Printmedia Practices	1101 (001)	Marylu Herrera	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 1551	Credits 3	Department Printmedia Location 280 Building Rm 222
Introduction to Performance	1101 (001)	Sara Jane Bailes	Wed 9:00 AM - 3:00 PM In Person
Description This course introduces the student to basic elements of performance art; body and objects, form and content, space and time, and enactment and documentation. The exploration will be encouraged by visiting artists' workshops or field trips to performance events throughout the course. Students develop individual and collaborative projects infusing their own narratives and making real human connections. Primarily a beginner's course but open to all levels of students.	Class Number 1514	Credits 3	Department Performance Area of Study Gender and Sexuality Location 280 Building Rm 012
Printmedia Practices	1101 (002)	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 1555	Credits 3	Department Printmedia Location 280 Building Rm 223
Introduction to Sculptural Practices	1101 (002)		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. Prerequisites Open to Freshmen only.	Class Number 1726	Credits 3	Department Sculpture Area of Study Public Space, Site, Landscape, Furniture Design Location 280 Building Rm 023
Printmedia Practices	1101 (003)	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 1568	Credits 3	Department Printmedia Location 280 Building Rm 221
Introduction to Sculptural Practices	1101 (003)	Nelly Agassi	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. Prerequisites Open to Freshmen only.	Class Number 1731	Credits 3	Department Sculpture Area of Study Public Space, Site, Landscape, Furniture Design Location 280 Building Rm 015
Intro to Writing as Art	1102 (001)	Kathie Bergquist	Mon 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. Readings include diverse examples of genre and form, as well as investigations of literary and thematic terminology. Students generate weekly responses to reading and writing exercises that focus on understanding the mechanics of writing, and are introduced to workshopping techniques and etiquette.	Class Number 1875	Credits 3	Department Writing Location Lakeview - 808
Intro to Writing as Art	1102 (003)	Elise Paschen	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. Readings include diverse examples of genre and form, as well as investigations of literary and thematic terminology. Students generate weekly responses to reading and writing exercises that focus on understanding the mechanics of writing, and are introduced to workshopping techniques and etiquette.	Class Number 1883	Credits 3	Department Writing Location Lakeview - 803
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (001)		Tues 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. Prerequisites SP26 ARTHI 1002-01S Co-Req	Class Number 2240	Credits 0	Department Art History, Theory, and Criticism Location Lakeview - 206
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (002)		Wed 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. Prerequisites SP26 ARTHI 1002-01S Co-Req	Class Number 2241	Credits 0	Department Art History, Theory, and Criticism Location MacLean 818
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (003)		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. Prerequisites SP26 ARTHI 1002-01S Co-Req	Class Number 2242	Credits 0	Department Art History, Theory, and Criticism Location MacLean 919
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (004)		Fri 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. Prerequisites SP26 ARTHI 1002-01S Co-Req	Class Number 2243	Credits 0	Department Art History, Theory, and Criticism Location Lakeview - 1427
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 1424	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
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 1424	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
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 1398	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (002)	Paige Taul, Thomas Comerford	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 1425	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Media Practices: The Moving Image	2000 (002)	Paige Taul, Thomas Comerford	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 1425	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Introduction To Fiber/Material Studies	2000 (002)	Sofía Fernández Díaz	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 1399	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Media Practices: The Moving Image	2000 (003)	Kera MacKenzie, Kioto Aoki	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 1447	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Media Practices: The Moving Image	2000 (003)	Kera MacKenzie, Kioto Aoki	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 1447	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Introduction To Fiber/Material Studies	2000 (003)	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 1412	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (004)	Fernando Saldivia Yáñez, 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 1460	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Media Practices: The Moving Image	2000 (004)	Fernando Saldivia Yáñez, 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 1460	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Introduction To Fiber/Material Studies	2000 (004)	Christian Ortiz	Sat 10:00 AM - 4:00 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 1400	Credits 3	Department Fiber and Material Studies Location Sharp 902
Introduction To Fiber/Material Studies	2000 (005)	Jess Atieno Ounga	Fri 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 1413	Credits 3	Department Fiber and Material Studies Location Sharp 902
Issues in Visual Critical Studies	2001 (001)	Patrick Durgin	Mon 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2163	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location MacLean 920
Introduction to Sculptural Practices	2001 (001)	Juan Angel Chavez	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. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1711	Credits 3	Department Sculpture Location 280 Building Rm 015
Beginning Graphic Design	2001 (001)	Mary Krysinski	Mon 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. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1818	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1117
Issues in Visual Critical Studies	2001 (001)	Patrick Durgin	Mon 8:30 AM - 11:15 AM 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 1810	Credits 3	Department Visual and Critical Studies Area of Study Theory Location MacLean 920
Introduction to Sound Practices	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 1130	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Painting Practice	2001 (001)	Jessica Jackson Hutchins	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 1635	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Introduction to Sculptural Practices	2001 (002)		Thurs 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. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1719	Credits 3	Department Sculpture Location 280 Building Rm 023
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. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1819	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Introduction to Sound Practices	2001 (002)	Bonnie Han Jones	Fri 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 1131	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Painting Practice	2001 (002)	Julieta Beltrán Lazo	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 1636	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Introduction to Sculptural Practices	2001 (003)	Dan Price	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. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1727	Credits 3	Department Sculpture Location 280 Building Rm 023
Beginning Graphic Design	2001 (003)		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. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1839	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Introduction to Sound Practices	2001 (003)	James Paul Wetzel	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 1135	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Painting Practice	2001 (003)	Amanda Joy Calobrisi	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 1637	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (004)	Shanti Grandhi	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 1638	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (005)	Tony Santuan Williams	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 1639	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (006)	Erin Washington	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 1640	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (007)	Charlotte Saylor	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 1641	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (008)	Tyson Reeder	Thurs 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 1642	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (009)	Xiaohan Jiang	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 1661	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (010)	George D Johnson	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 1662	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (011)	Dylan Rabe	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 1672	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Beginning Etching	2002 (001)	Anna Laure Kielman	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 1570	Credits 3	Department Printmedia Location 280 Building Rm 223
Comics	2002 (001)	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 1646	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Woven Structure Basics	2002 (001)	Jerry Bleem	Mon 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 1401	Credits 3	Department Fiber and Material Studies Location Sharp 1011
Image Studio	2002 (001)	Jiwon Son	Wed 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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1821	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1213
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. Prerequisites Pre:ARCH/INARC 2001	Class Number 1023	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1406B
Comics: Wimmen's Comix	2002 (002)	Cassidy Ott	Mon/Wed 6:45 PM - 9:15 PM In Person
Description Wimmen¿s Comix (1972-1992) dove head first into topics that others within the underground comic movement refused to breach, such as abortion, menstruation, masturbation, queerness, witches, murderesses, and, of course, feminism. This studio course will use the history of the Wimmen¿s Comix movement as a scaffolding to investigate the inherently political nature of underground comics and what it means to create contemporary feminist comics in a post Roe v. Wade society.	Class Number 1647	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1820	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1213
Arch/Inarch: Ugrd Studio 2	2002 (002)	Jaak Jurisson	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. Prerequisites Pre:ARCH/INARC 2001	Class Number 1024	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1406A
Comics: Making Comics from Life: Autobiography, Me	2002 (003)	Marnie Galloway	Thurs 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 1648	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Image Studio	2002 (003)	Donald Pollack	Fri 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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1842	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1213
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 1649	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
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 1650	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
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 1651	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics: Remote	2002 (007)	Aaron Renier	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 1652	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Online
Comics	2002 (008)	Kevin Huizenga	Wed 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 1656	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Comics: Play, and Process	2002 (009)	Sophie Goalson	Thurs 9:00 AM - 3:00 PM In Person
Description This course explores comics as a space for play, exploration, and critical inquiry. Students will engage with drawing and writing as intertwined practices, using comics to examine memory, thought, and storytelling. Through a mix of diary comics, experimental exercises, and structured assignments, students will challenge their own ideas of what makes a comic a comic and develop a personal approach to the medium. In addition to making work, students will read and discuss texts by artists and thinkers. Selected readings include works by Lynda Barry, Cintra Wilson, Julia Kristeva, Jean Little, Lela Lee, J. Jefferson Farjeon, Allie Brosh, and others. These texts will serve as a foundation for discussions on creativity, nonlinear storytelling, and the relationship between image and text. The class will also consider how comics operate as both personal expression and cultural commentary, thinking critically about the ethics of storytelling, subjectivity, and artistic voice. Students will produce a body of work over the course of the semester, including weekly exercises, process-based experiments, and a final project that explores comics as a mode of thinking. Regular critiques will focus on development rather than refinement, reinforcing the idea that comics are a process rather than a product. No prior drawing experience is required¿only a willingness to engage in playful, iterative, and messy creation.	Class Number 1663	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics: Idea to Execution	2002 (011)	Sara Varon	Wed 9:00 AM - 3:00 PM In Person
Description Good stories can come from anywhere, and any story can be interesting no matter the subject matter. This class will focus on the best way to create concepts for stories and how to properly execute them, with a strong emphasis on writing, revision, using the proper tools, artistic process and drawing technique. Students will complete short, one to two page stories each week, while also working toward three six to eight page stories that will be compiled into their own printed comic at the end of the semester. Various comic samples will be provided from a range of diverse sources. Short story assignments will be assigned in the beginning of the semester that will focus on specific aspects of making comics (i.e. perspective, using reference, creating mood, etc). Students will also be making three longer stories that will be compiled into one comic at the end of the semester.	Class Number 1666	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics: Comics of The Self: From Autobiography to	2002 (013)	Sam Sharpe	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 1668	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Slow Photo	2003 (001)	Monika Niwelinska	Fri 9:00 AM - 3:00 PM In Person
Description This course invites students with a foundational knowledge of photography to expand their image-making practices through hands-on, experimental techniques. Exploring cyanotype, van dyke brown, collage, reproduction, and transfer methods, students gain a working understanding of graphic arts and print films. The course encourages curiosity, independent research, and creative risk-taking, with opportunities to integrate text, installation, and performance. Emphasizing process and material exploration, Slow Photo fosters a deeper engagement with photography beyond the digital, embracing time-intensive approaches that challenge conventional image-making. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1531	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1509	Credits 3	Department Liberal Arts Location MacLean 816
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 1653	Credits 3	Department Painting and Drawing Area of Study Graphic Design, Illustration Location 280 Building Rm 308
Arch/Inarch: Light and Space	2003 (001)	Stephanie Slaughter	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 1025	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1255
Beginning Lithography	2003 (001)	Nicholas J Waguespack	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 1552	Credits 3	Department Printmedia Location 280 Building Rm 221
Fashion Construction II	2003 (001)	Agnes Hamerlik	Mon 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 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 1393	Credits 3	Department Fashion Design Location Sullivan Center 702
Color	2003 (002)	Herman Aguirre	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 1654	Credits 3	Department Painting and Drawing Area of Study Graphic Design, Illustration Location 280 Building Rm 308
Fashion Construction II	2003 (002)	Saumitra Shrikant Chandratreya	Mon 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 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 2204	Credits 3	Department Fashion Design Location Sullivan Center 704
Fashion Construction II	2003 (004)	Agnes Hamerlik	Wed 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 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 2206	Credits 3	Department Fashion Design Location Sullivan Center 702
Fashion Construction II	2003 (005)	Saumitra Shrikant Chandratreya	Wed 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 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 2207	Credits 3	Department Fashion Design Location Sullivan Center 704
Fashion Design II	2004 (001)	Anke Loh	Mon 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 2209	Credits 3	Department Fashion Design Location Sullivan Center 703
Form and Meaning	2004 (001)	Paige Taul	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. Prerequisites Prerequisite: FVNM 2000	Class Number 1426	Credits 3	Department Film, Video, New Media, and Animation Area of Study Public Space, Site, Landscape, Social Media and the Web Location MacLean 517
Print for Fabric and Alternative Materials I	2004 (001)	Sarita Garcia	Mon 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 1411	Credits 3	Department Fiber and Material Studies Location Sharp 905
Fashion Design II	2004 (002)	Kristin Mariani	Wed 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 2210	Credits 3	Department Fashion Design Location Sullivan Center 705
Form and Meaning	2004 (002)	Daniele Wilmouth	Thurs 3:30 PM - 6:15 PM 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. Prerequisites Prerequisite: FVNM 2000	Class Number 1437	Credits 3	Department Film, Video, New Media, and Animation Area of Study Public Space, Site, Landscape, Social Media and the Web Location MacLean 1304
Fashion Design II	2004 (003)	Compton Quashie	Wed 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 2211	Credits 3	Department Fashion Design Location Sullivan Center 703
Fashion Design II	2004 (004)	Kristin Mariani	Mon 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 2212	Credits 3	Department Fashion Design Location Sullivan Center 705
Shape And Theory In Garments	2005 (001)	Benjamin Larose	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.	Class Number 1381	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement Location Sullivan Center 727
Beginning Screenprinting	2005 (001)	Marylu Herrera	Mon 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.	Class Number 1553	Credits 3	Department Printmedia Location 280 Building Rm 222
French I	2005 (001)	Elizabeth Chalier-Visuvalingam	Tues 12:15 PM - 3:00 PM In Person
Description An introductory course in reading, writing and conversational French. Prerequisites Prerequisite: First Year English requirement.	Class Number 1506	Credits 3	Department Liberal Arts Location Lakeview - 206
Throwing: Multilevel	2005 (001)	Cassandra Scanlon	Tues 3:30 PM - 9:15 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.	Class Number 1172	Credits 3	Department Ceramics Location 280 Building Rm M153
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. Prerequisites Prerequisite: FVNM 2000	Class Number 1427	Credits 3	Department Film, Video, New Media, and Animation Area of Study Game Design, Digital Imaging, Animation Location MacLean 1304
Puppetry And Performance	2005 (001)	Blair Thomas	Fri 9:00 AM - 3:00 PM In Person
Description This course serves as an introduction to the puppet as performing object from traditional forms to contemporary practice. The class will focus on performance techniques with only basic instruction on fabrication. Students will create short form works centered on the puppet or informed by the language of the puppet. Additionally techniques of co-performance with the puppet and the puppeteer are introduced exploring themes of the doppleganger and the other. Students are exposed to work in the field by attending 3 productions outside of class and viewing of video documentation work such as Handspring, Giselle Vienne, Geumhyung jJeong and Bread & Puppet. Additional readings on contemporary puppet theory are included. The first half of the semester specific performances techniques are introduced such as Guignol hand puppetry, overhead projector and screen and rod shadow puppetry and three-person and one-person Bunraku style doll puppetry. Also introduced are rod puppet, scroll theater, Cantastoria and toy theater performance. Each technique then includes a theme and focus for the creation of a short original work. The second half of the semester focuses on the creation of work of the student?s choosing.	Class Number 2255	Credits 3	Department Performance Location 280 Building Rm 012
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.	Class Number 1406	Credits 3	Department Fiber and Material Studies Area of Study Costume Design Location Sharp 1014
Beginning Screenprinting	2005 (002)	Nia Easley	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.	Class Number 2133	Credits 3	Department Printmedia Location 280 Building Rm 222
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. Prerequisites Prerequisite: FVNM 2000	Class Number 1442	Credits 3	Department Film, Video, New Media, and Animation Area of Study Game Design, Digital Imaging, Animation Location MacLean 1304
Sketching for Designed Objects	2005 (002)	Hector Silva	Thurs 3:30 PM - 9:15 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.	Class Number 1274	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1406A
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.	Class Number 1363	Credits 3	Department Fashion Design Area of Study Product Design Location Sullivan Center 704
Papermaking I	2007 (001)	Angela Davis Fegan	Fri 9:00 AM - 3:00 PM In Person
Description This course will introduce hand papermaking as an art form using contemporary and traditional techniques. You will utilize and develop techniques and skills that are unique to this medium. We will focus on a range of fibers that have differing characteristics that can exemplify content investigation. We will be reviewing many artists work for their use of material in conjunction with concepts pursued. This will include flat works, sculptural, installation, etc. - some will be actual works brought in to the classroom for a close up examination of process and idea. Students will create a range of experimental works with the medium and produce a final body of self-directed work that will all be reviewed during 3 participatory group critiques.	Class Number 2513	Credits 3	Department Fiber and Material Studies Location Sharp 1014
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.	Class Number 1364	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 734
The Human Figure in 3D	2007 (001)	Mark N. Stafford	Mon 9:00 AM - 3:00 PM In Person
Description A study of human anatomy for artists and representational figurative sculpting in clay, covering important and widely transferable formal principles and technical methods. In addition to traditional on-armature and handbuilding techniques, interested students will have access to ZBrush and may use it to produce maquettes and custom armatures through 3d printing and laser cutting. Qualified students may also have access to the Potterbot ceramic 3D printer for experimental use. Readings, guides, and other reference materials will include excerpts from: Edouard Lanteri?s Modelling and Sculpting the Human Figure, Stephen Rogers Peck?s Atlas of Human Anatomy for the Artist, and Uldis Zarins? Anatomy for Sculptors: Understanding the Human Figure. The course will be divided into three sections, the first two of which will involve the study of anatomy and sculptural technique. We will start with the bust (portraiture is optional), then move to the figure with scale studies of the torso, arms, and legs. Finally, students will have the opportunity to pursue a figurative project of their own design. Options for this project may include, but are not limited to: life-size or larger figures built in parts, figure groupings, formal and/or expressive figurative stylizations, and experimentation with the Potterbot ceramic 3D printer.	Class Number 1180	Credits 3	Department Ceramics Area of Study Class, Race, Ethnicity, Gender and Sexuality Location 280 Building Rm M152
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.	Class Number 1371	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 734
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 <> (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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1507	Credits 3	Department Liberal Arts Location Online
Mold Making and Casting	2008 (001)	Jeffrey 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.)	Class Number 1714	Credits 3	Department Sculpture Location 280 Building Rm 030
Medium Format	2009 (001)	Nathan Miller	Fri 9:00 AM - 3:00 PM In Person
Description Explore the history, methods, and creative potential of medium format film photography. In this course, students will work with medium format cameras, experimenting with black-and-white and color film. Through guided instruction, they will learn film development techniques and both analog and digital printing methods. By combining traditional and experimental approaches, students will expand their photographic practice and deepen their understanding of the medium. Prerequisites Prerequisite: 3 credits of PHOTO 1000 level courses.	Class Number 1533	Credits 3	Department Photography Area of Study Digital Imaging Location 280 Building Rm 215
Chance and Intentionality	2009 (001)	Patrick Durgin	Tues 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2165	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Community & Social Engagement Location MacLean 608
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1505	Credits 3	Department Liberal Arts Location MacLean 919
Color	2010 (001)	Sonja Ruth Thomsen	Mon 9:00 AM - 3:00 PM In Person
Description This course explores the intricate concepts and practices of color photography, integrating perception, science, and cultural significance. Students refine their ability to see and interpret color through hands-on projects, peer critique, and historical and theoretical discussions. Technical instruction includes image capture, color correction, light quality, printing across various scales and media, and presentation strategies. Through these explorations, students deepen their understanding of color¿s role in shaping meaning and photographic expression. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1527	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 214
Creative Process as Art Therapy	2010 (001)	Elia Khalaf	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.	Class Number 1107	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 402
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.	Class Number 1365	Credits 3	Department Fashion Design Area of Study Furniture Design Location Sullivan Center 723
Spanish II	2010 (001)	Sabra Duarte	Thurs 3:30 PM - 6:15 PM In Person
Description This is a continuing course in reading, writing, and speaking Spanish. Prerequisite: LANGUAGE 2001 Spanish I. Prerequisites Prerequisite: LANGUAGE 2001.	Class Number 1511	Credits 3	Department Liberal Arts Location Lakeview - 203
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.	Class Number 1595	Credits 3	Department Painting and Drawing Location 280 Building Rm 308
What's Worth Preserving?	2010 (001)	Jonathan Solomon	Tues 8:30 AM - 11:15 AM In Person
Description Architectural preservation, art conservation, archiving and collecting, even environmental protection: all these practices share a desire to preserve things of value, but how do we decide what's valuable? Using the laws, policies, and practices of architectural preservation as a starting point this studio will ask and propose answers to the question: what's worth preserving? Students will explore how preservation practice overlaps and complements the work of different museums, archives, and collections that define value and how they protect it; and propose strategies for assembling and maintaining their own collections in whatever media they choose. Course readings will focus on the history and contemporary practice of preservation, conservation, and collecting; and visits to preservation organizations in the city of Chicago will introduce students to a range of current preservation projects. Course work will include weekly readings, discussions, field trips and tours. Students will work individually throughout the course to research how different institutions assemble and protect their collections, identify a subject of personal interest for preservation, and propose a preservation strategy for it in any medium of their choice.	Class Number 2359	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Community & Social Engagement, Public Space, Site, Landscape, Art/Design and Politics Location Sullivan Center 1231
Mechanisms, Movement & Meaning	2010 (001)	Dan Miller	Tues 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.	Class Number 1114	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
Creative Process as Art Therapy	2010 (002)	Katie Kamholz	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.	Class Number 1108	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 404
Black and White	2011 (001)	Oliver Sann	Thurs 9:00 AM - 3:00 PM In Person
Description This course explores the techniques and aesthetics of black and white photography, from exposure to final prints. Students will develop skills in analog darkroom and inkjet printing, contrast control, lighting techniques, and the impact of scale, paper, and film choices. Hands-on projects and darkroom experimentation will deepen technical abilities and creative expression. An adjustable film camera is required. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1528	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
Digital Methods for Ceramic Production	2011 (001)	Mark N. Stafford	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 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.	Class Number 1171	Credits 3	Department Ceramics Area of Study Digital Imaging Location 280 Building Rm M152, 280 Building Rm 127A
Beginning Typography	2011 (001)	Jiwon Son	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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1822	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1213
Black and White	2011 (002)	Robert Clarke-Davis	Wed 9:00 AM - 3:00 PM In Person
Description This course explores the techniques and aesthetics of black and white photography, from exposure to final prints. Students will develop skills in analog darkroom and inkjet printing, contrast control, lighting techniques, and the impact of scale, paper, and film choices. Hands-on projects and darkroom experimentation will deepen technical abilities and creative expression. An adjustable film camera is required. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1529	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
Beginning Typography	2011 (002)	Mary Krysinski	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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1824	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1117
Beginning Typography	2011 (003)	Martha Chiplis	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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1823	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1117
Beginning Typography	2011 (004)	Jiwon Son	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. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1851	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1117
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.	Class Number 1383	Credits 3	Department Fashion Design Location Sullivan Center 723
Type Technologies Lab	2012 (001)	Beth Roman	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. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1825	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Type Technologies Lab	2012 (002)	Beth Roman	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. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1826	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Type Technologies Lab	2012 (003)	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. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1827	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Type Technologies Lab	2012 (004)	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. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1852	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Beyond the Utilitarian Vessel	2013 (001)	Nancy Fleischman	Sat 10:00 AM - 4:00 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.	Class Number 1176	Credits 3	Department Ceramics Area of Study Community & Social Engagement Location 280 Building Rm M152
Lighting Fundamentals	2015 (001)	Sonja Ruth Thomsen	Wed 9:00 AM - 3:00 PM In Person
Description Light is a powerful tool for creative control. In this course, students learn to observe, measure, and manipulate light to enhance their photographic work. Through hands-on practice, they explore the interplay of natural, ambient, and artificial light sources¿including on-camera and hand-held flash¿within existing conditions. By understanding metering and light mixing techniques, students gain the skills to shape mood, depth, and atmosphere in their images. This course provides a strong foundation in lighting, equipping students with practical techniques to elevate their work with confidence and precision. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1534	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 207
3D Embellishment	2015 (001)	Eia Radosavljevic	Thurs 9:00 AM - 3:00 PM In Person
Description Embellishment methods such as ribbon manipulation, feather-work, fabric tooling, and embroidery are introduced as a springboard for individual experimentation in 3-dimensional surface manipulation. Techniques like fur/faux fur sewing, leather tooling, macrame, and tatting may also be introduced in support of conceptual and formal design choices. Students are encouraged to explore alternative methods and up-cycled, sustainable materials to transform or redefine their selected garments and accessories, or to create objects from 3-dimensional units.	Class Number 1366	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 727
Introduction to Experimental 3D	2015 (001)	Anneli Goeller	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. Prerequisites Prerequisite: FVNM 2000	Class Number 1436	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 519
Lighting Fundamentals	2015 (002)	Kyle Dunn	Tues 9:00 AM - 3:00 PM In Person
Description Light is a powerful tool for creative control. In this course, students learn to observe, measure, and manipulate light to enhance their photographic work. Through hands-on practice, they explore the interplay of natural, ambient, and artificial light sources¿including on-camera and hand-held flash¿within existing conditions. By understanding metering and light mixing techniques, students gain the skills to shape mood, depth, and atmosphere in their images. This course provides a strong foundation in lighting, equipping students with practical techniques to elevate their work with confidence and precision. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1538	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 207
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. Prerequisites Prerequisite: FVNM 2000	Class Number 1445	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 519
Drawn to Print	2016 (001)	Nia Easley	Thurs 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.	Class Number 1407	Credits 3	Department Fiber and Material Studies Location Sharp 905
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.	Class Number 1367	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 723
Artists' Books	2018 (001)	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.	Class Number 1554	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
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.	Class Number 1408	Credits 3	Department Fiber and Material Studies Area of Study Costume Design Location Sharp 1014
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.	Class Number 1368	Credits 3	Department Fashion Design Location Sullivan Center 701
Artists' Books	2018 (002)	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.	Class Number 1558	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Designing Interaction	2019 (001)		Thurs 3:30 PM - 9:15 PM In Person
Description This core skills studio teaches how to generate impactful visual materials to effectively communicate interactions with objects, digital interfaces and within virtual spaces. Students will learn professional communication tools for prototyping screen-based interfaces, vector illustration, typographic and visual composition, and data visualization. As well as aiding design development, the tools covered will enable the successful communication of storyboarded scenarios, design research, and finished proposals for physical and screen-based presentation. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1280	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1241
Redefining Edges: Zero Waste in Fashion	2020 (001)	Pamela Vanderlinde	Wed 9:00 AM - 3:00 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. Prerequisites FASH 1010 Pre-req	Class Number 1395	Credits 3	Department Fashion Design Area of Study Sustainable Design Location Sullivan Center 706
Designed Objects Studio One	2020 (001)	Jess Giffin	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. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1267	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1406A
Designed Objects Studio One	2020 (002)	Annalee Koehn	Thurs 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. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1278	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1255
History of Modern Sculpture	2021 (001)	Weronika Malek-Lubawski	Fri 12:15 PM - 3:00 PM In Person
Description What is sculpture, and what separates it from other media? How did modernity and modernism change the artists¿ understanding of sculpture and its relationship to the human body, scale, and space? This course will present an overview of modern sculpture, from Rodin¿s figurative work to Smithson¿s land art, concluding with discussions about the role of contemporary sculpture in society. We will examine how technological innovations, societal transformations, and the myths of modernism influenced the artists¿ approaches to the medium. The course will primarily focus on European and North American sculptors but will also explore their understanding of colonialism and globalization. The course will overview various examples of artworks by Auguste Rodin, Karl Ioganson, Naum Gabo, Kurt Schwitters (Merzbau), Alexander Calder, Henry Moore, Barbara Hepworth, Magdalena Abakanowicz, Richard Serra, Robert Smithson, and other representatives of late 19th-20th century sculpture. Secondary readings will include Rosalind Krauss¿ ¿Passages on Modern Sculpture,¿ selections of Megan Luke's and Maria Gough's monographs on Kurt Schwitters and Constructivism, as well as relevant academic articles. We will also discuss and contextualize primary texts and manifestos by Naum Gabo, Carola Giedion-Weckler, Katarzyna Kobro, Barbara Hepworth, and Johann Winckelmann (some read in their entirety, some as selections). Formal analysis of a selected sculpture ¿ 1000-1500 words Presentation ¿ 5-10 minutes Final essay comparing three sculptures and relating them to concepts from class ¿ 3000-4000 words Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2484	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
The Figure In Ceramics	2021 (001)	Pei-Hsuan Wang	Tues 9:00 AM - 3:00 PM In Person
Description Poetics of the figure. Shaping the boundaries between external reality and the inner self. Students explore and develop their interest in the figure, as character, poetics, fragment, representation, memory and narrative in their art practice. Historical and contemporary examples will be examined in lectures and discussions. The incorporation of found objects in the work as well as installation strategies will be encouraged. Demonstrations involving methods of construction, surface treatments and firing choices are available. Advanced students are invited to shape their own research.	Class Number 2470	Credits 3	Department Ceramics Location 280 Building Rm M152
Interface Design Seminar	2028 (001)	George Guffey	Thurs 6:45 PM - 9:30 PM In Person
Description As products incorporate increasingly complex displays, functionality, and intelligence, their usability can become a challenge. This studio-seminar explores methods for designing intuitive and effective interfaces that enhance both the usability and overall experience of a device. Through presentations, discussions, and hands-on exercises, students will analyze existing interfaces and devices, identifying strengths and weaknesses in their design. The course emphasizes the integration of user interface (UI) and industrial design (ID) to create seamless, visually cohesive, and functionally intuitive products. Students will engage in critical evaluation of real-world examples and apply digital media tools to prototype the interface and interaction components of their own design projects. Key topics include understanding user behavior, mapping device functionality, designing appropriate two-way communication, and developing graphic elements that support usability. By the end of the course, students will have a deeper understanding of interface design as a critical factor in product development, enabling them to craft more user-centered, visually compelling, and engaging product experiences. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 2237	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design Location Sullivan Center 1255
Designed Objects Studio Two	2030 (001)	Eric Allan Hotchkiss	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. Prerequisites Pre: DES OB 1006 or 2020	Class Number 1268	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1241
Figure Drawing: Multi-Level	2030 (001)	Ruth Poor	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.	Class Number 1596	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
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.	Class Number 1597	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
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.	Class Number 1598	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Figure Drawing: Multi-Level	2030 (004)	Sebastian Thomas	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.	Class Number 1599	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
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.	Class Number 1600	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
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.	Class Number 1601	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (007)	Emma R Stine	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.	Class Number 1602	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Figure Drawing: Multi-Level	2030 (008)	Kaylee Rae Wyant	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.	Class Number 1603	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (009)	Dylan Rabe	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.	Class Number 1604	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (010)	MJ Lounsberry	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.	Class Number 1605	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Large Format	2030 (011)	Amanda Joy Calobrisi	Fri 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.	Class Number 1669	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
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. Prerequisites Prerequisite: PTDW 2030.	Class Number 1643	Credits 3	Department Painting and Drawing Location 280 Building Rm 124
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. Prerequisites Prerequisite: PTDW 2030.	Class Number 1644	Credits 3	Department Painting and Drawing Location 280 Building Rm 124
Costume Design in Film and TV	2032 (001)	Bambi Deidre Breakstone	Fri 9:00 AM - 3:00 PM In Person
Description In this workshop students develop a practical understanding of the procedures used by costume designers and their assistants and crew in film and television production. Weekly lectures and hands-on demonstrations focus on projects including breaking down a script based on character and scene, doing research towards developing characters through costume choices, and techniques used to present those choices to the director and producer. Students break down a script from a show in current production. Final critiques include presentation of the breakdown with clip file photos and drawings of their costume choices for the entire script.	Class Number 2262	Credits 3	Department Fashion Design Area of Study Costume Design, Playwriting/Screenwriting Location Sullivan Center 727
Top: Clay and Culture	2035 (001)	Emily Schroeder Willis	Tues 9:00 AM - 3:00 PM In Person
Description This course examines a variety of cultures (African, North, Central and South American, European, Asian) through the lens of their ceramic histories. Students will develop vessels based on a response to this cultural information. Each projects will be rooted in a discussion and a tour with a different curator at AIC. Topics addressed will be: gender and sexuality, domestic and ritual vessels, architecture and environment, politics and culture and class and industry.	Class Number 1173	Credits 3	Department Ceramics Location 280 Building Rm M153
Top:Getting Weird & Hilarious	2035 (002)	William John O'Brien	Thurs 9:00 AM - 3:00 PM In Person
Description This class will explore both traditional and non-traditional approaches to firing and using clay to explore the topics of humor, exaggeration and perception. Historical references such as 1960s California Funk Ceramics, High Victorian Rococo, as well as more contemporary approaches to clay will serve as starting points for sculptural, installation and performative projects.	Class Number 1183	Credits 3	Department Ceramics Location 280 Building Rm M152
Tapestry	2037 (001)	Danielle Lasker	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.	Class Number 2485	Credits 3	Department Fiber and Material Studies Area of Study Digital Communication, Community & Social Engagement, Gender and Sexuality Location Sharp 1005
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.	Class Number 1606	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Photography and Visual Culture Theory	2040 (001)	Jonas Becker	Tues 12:15 PM - 3:00 PM In Person
Description This course examines historical and contemporary philosophies, critical frameworks, and theoretical approaches that shape photography and visual culture. Designed to prepare students for advanced discourse, whether in graduate studies or as practicing artists navigating the broader art world, the class emphasizes the integration of theory, research, and artistic practice. Through weekly critical readings, discussions, and informal writing assignments, students will analyze key concepts, articulate ideas, and conduct theoretical research connected to their own creative work. The course also incorporates visits to photography exhibitions and collections around the city, fostering engagement with contemporary photographic dialogue. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1550	Credits 3	Department Photography Area of Study Theory Location 280 Building Rm 216
Wksp:Storytelling	2040 (001)	Richard O'Reilly	Fri 12:15 PM - 3:00 PM In Person
Description This workshop operates from the premise that whether compelled by memory, gossip, witnessing, or revelation, people have a need to tell stories, and so we work on making the telling of our tales more resonant, purposeful, and entertaining. We draw from the short stories of Annie Proulx and Uwem Akpan, monologues of Suzan-Lori Parks, prose poems of Joe Wenderoth, essays of Toni Morrison and Virginia Woolf, the comedy of Hannah Gadsby, the investigative local podcast The Constant: A History of Getting Things Wrong and folk tales from a variety of cultures. Course work includes generative writing exercises and short, frequent presentations of your work with attention to its aural presentation; one academic paper comparing two pieces we have read for class; and a presentation of a final project. Workshops focus on ways to make your work better, clearer, and more understandable through discussion and rewriting.	Class Number 1876	Credits 3	Department Writing Location Lakeview - 808
Studio Drawing:Collage	2040 (002)	MaryLou Zelazny	Tues 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.	Class Number 1607	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Wksp:Poetics of the Ordinary	2040 (002)	Matthew Goulish	Wed 8:30 AM - 11:15 AM In Person
Description If we define the ordinary as that which we can safely overlook, or that which we value most when it recedes from our attention, how can we consider such ordinariness, in language or image or event, as a generative, creative foundation? This course offers selected examples of American writing that concern aspects of the ordinary, formulated and structured according to principles of the ordinary, while considering how the ordinary differs for different people. A partial course reading list includes fiction by Amina Cain, Remedios Varo, Clarice Lispector, and Renee Gladman, poetry by Ed Roberson, Diane Seuss, and Robert Creeley, and nonfiction prose by Charles Olson. Students will participate in in-class writing sessions, take a midterm vocabulary test, and present their work twice through the semester for classroom feedback.	Class Number 1882	Credits 3	Department Writing Location Lakeview - 808
Studio Draw: Visual Archives and Artists¿ Collecti	2040 (003)	Kaylee Rae Wyant	Tues 3:30 PM - 9:15 PM In Person
Description This course invites students to become collectors. Looking at the personal collections of artists like Georgia O¿Keeffe, Ray Yoshida, Christina Ramberg, and Roger Brown, students will learn how to use the act of collecting as a tool for invention in their studio practices. With class excursions to flea markets, museums, and nature trails, students will have multiple opportunities to gather and document a range of visual ephemera. Course activities will center on the development of visual archives, including developing strategies for collecting, documenting, organizing, and displaying material. Students will keep a sketchbook/journal with writings and drawings of collected material. Weekly drawing exercises will help synthesize their observations to develop a unique visual vocabulary. By asking students to, as Barbara Rossi put it, ¿notice themselves noticing the world,¿ collecting becomes a strategy for self-reflection as well as a means for developing thoughtful connections to the material world around them.	Class Number 1608	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (004)	Tyson Reeder	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.	Class Number 1609	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (005)	David R. Harper	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.	Class Number 1610	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (006)	Matt Morris	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.	Class Number 1611	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (007)	Herman Aguirre	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.	Class Number 1612	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (008)	Jaclyn Gaye Mednicov	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.	Class Number 1613	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (009)	Noah 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.	Class Number 1614	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Std Draw:Large Format	2040 (010)	Steven Husby	Fri 9:00 AM - 3:00 PM In Person
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.	Class Number 1615	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (011)	Emily M Miller	Tues 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.	Class Number 2371	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Type and Image in Motion	2041 (001)	Michal Janicki	Fri 8:30 AM - 11:15 AM All Online
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. Prerequisites Prerequisite: VISCOM 1002 or VISCOM 2941.	Class Number 1828	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging, Animation Location Online
French II	2050 (001)	Elizabeth Chalier-Visuvalingam	Tues 3:30 PM - 6:15 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. Prerequisites Prerequisite: LANGUAGE 2005.	Class Number 1504	Credits 3	Department Liberal Arts Location Lakeview - 206
Virtual Flat to Form - Digital Patternmaking	2060 (001)	Aubrie J. Meyer	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 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. Prerequisites FASH 2001/2014/2016/2020/2022/2024/2901	Class Number 1375	Credits 3	Department Fashion Design Area of Study Digital Imaging, Gender and Sexuality, Art and Science Location Sullivan Center 703, MacLean 917
Pattern Making for Sculpture	2074 (001)	David Sprecher	Thurs 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.	Class Number 1724	Credits 3	Department Sculpture Area of Study Product Design Location 280 Building Rm 127
Chinese II	2080 (001)	Marie Meiying Jiang	Thurs 6:45 PM - 9:30 PM All Online
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 <> (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. Prerequisites Prerequisite: LANGUAGE 2008.	Class Number 1508	Credits 3	Department Liberal Arts Location Online
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. Prerequisites Prerequisite: FVNM 2000	Class Number 1428	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Social Media and the Web Location MacLean 807
Art and Technology Practices	2101 (001)	Joseph Michael Kramer, Grace Grace Grace	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.	Class Number 1112	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science Location MacLean B1-07, MacLean 401
Art and Technology Practices	2101 (001)	Joseph Michael Kramer, Grace Grace Grace	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.	Class Number 1112	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science Location MacLean B1-07, MacLean 401
Why Ancient Art and Architecture Matter	2113 (001)	Joana Konova	Thurs 8:30 AM - 11:15 AM 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 Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1058	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Foundry Basics	2113 (001)	Jonathan Lanier	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.	Class Number 1712	Credits 3	Department Sculpture Location 280 Building Rm 030
Furniture 1: Chair Studio	2118 (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. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1273	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design, Furniture Design Location Sullivan Center 1242
Digital Modeling: Rhino	2124 (001)		Thurs 9:00 AM - 3:00 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.	Class Number 1269	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design Location Sullivan Center 1406A
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.	Class Number 1272	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1226
History of Designed Objects	2128 (001)	Lara Allison	Thurs 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1040	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Medieval Manuscripts and the Arts of Medieval Paris	2131 (001)	Nancy Feldman	Thurs 12:15 PM - 3:00 PM In Person
Description This course studies the medieval book in Europe and the visual arts crafted in medieval Paris as well as their connections to the global medieval world through exchange and gifting. The medieval cosmos in Islamic and European cultures, humans? relationship with the natural world, and artist?s practices of making will be studied as well as manuscripts, textiles, metal work, and more. Books in the medieval world include narratives of heroes, saints, love, magic, scientific knowledge, and documentation of artistic techniques. This course is Eurocentric however includes arts of Middle East and North Africa for a broader understanding of the medieval world. Coursework includes field trips to view Chicago's medieval manuscript and art collections at the Newberry and the Art Institute. Readings include works by Sharon Farmer, ?Surviving Poverty in Paris,? Edson and Savage-Smith, ?Medieval Views of the Cosmos,? Michael Camille, ?Nature of Gothic,? Madeline Caviness, ?Patron or Matron?,? Jonathan Bloom and Sheila Blair, ?Islamic Penmen and Painters,? and more. Coursework will vary but typically includes discussions, reading responses, in-class quizzes, short presentations and a research paper. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2370	Credits 3	Department Art History, Theory, and Criticism Area of Study Books and Publishing Location MacLean 920
The Flowering of Medieval & Renaissance Dress	2141 (001)	Gillion Carrara	Thurs 8:30 AM - 11:15 AM In Person
Description Often fashion refers to history, as it will in this course. We will explore the culture of Europe within the Renaissance era and the fashions created in that time, including the various occasions when men in their uniforms and women in their gowns stepped out in velvets, satins, leather, beading, metalwork and embroideries. Turner Wilcox, Andre Castel, David Herlihy, Colin McEvedy, William McNeill, Rublack & Hayward, Anthony McIntyre READINGS: Excerpts from: Trucco e Bellezza nell' Antichita Rossana ed Cesaris; Fashion as a Cultural Intertext Michaela Malickova; Pandora in the Box Lydia Marie Taylor; For A Contemporary Vision of the Other History and Phenomenology of Fashion Alessia M. M. Giurdanella; Fashion in the Middle Ages Margaret Scott; Medieval Households David Herlihy; First Book of Fashion edited by U. Rublack and M. Hayward; Plagues and People William H. McNeill; Memoirs of Hadrian Marguerite Yourcenar; Arms and Armour Visual Books; Flowering of the Italian Renaissance Andre Chastel; Medieval Households David Herlihy; Penguin Atlas of Ancient History Colin McEvedy; Alla Mensa degli Antichi - the ceramics of the table - collezione Costantini Students should expect to create around 3 presentations and 3 written essays, a combination of written and visual. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2475	Credits 3	Department Art History, Theory, and Criticism Area of Study Costume Design, Art/Design and Politics, Museum Studies Location MacLean 707
Animation I: Drawing for Animation	2420 (001)	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.	Class Number 1429	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 717
Animation I: Drawing for Animation	2420 (002)	James Trainor	Wed 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.	Class Number 1430	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 717
Animation I: Drawing for Animation	2420 (003)	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.	Class Number 1455	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 717
Modern and Contemporary Korean Art	2468 (001)	Yeonsoo Chee	Wed 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1067	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Media Art Histories and Genealogies	2513 (001)	James Connolly	Thurs 12:15 PM - 3:00 PM In Person
Description This course 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, interactive digital systems, and video games) as well as genealogies of specific media technologies (i.e. still and film cameras, television, computers, software, video games, the internet, and aglorithms). These interwoven histories of shared theory/practices are investigated in relationship to independent/experimental/art media in contemporary cultures by asking: How do film, video, and new media artists develop methods to work with, against, and around these techno-social forms? Readings will include Marshall McLuhan, Tom Gunning, André Breton, Maya Deren, Laura Mulvey, Bell Hooks, Angela J. Aguayo, Rosalind Krauss, Rosa Menkman, and Legacy Russell. Established genealogies will be presented and critically examined alongside screenings and discussions about works by media artists whose practices embodied and challenged the techno-cultural media environment of their time, from the advent of photography and film to the contemporary moment of ultra-high-definition digital video, networked streaming, online algorithmic media sharing and consumption, and 3D capturing and rendering. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1074	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location MacLean 1307
African Cinema	2588 (001)		Wed 6:00 PM - 9:00 PM In Person
Description This course explores the rich and diverse landscape of African cinema from its origins to the present day. Students will examine seminal works from pioneers like Ousmane Sembène and Souleymane Cissé alongside contemporary voices such as Abderrahmane Sissako, Wanuri Kahiu, and Baloji. The course covers major film movements including Nollywood's commercial revolution, the author-driven traditions of West African cinema, and more recent experimental films from Central and Southern Africa. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2480	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Gene Siskel Film Center 203
History of Film Animation	2598 (001)	James Trainor	Mon 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1042	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
History Of Performance	2610 (001)	Chris Reeves	Fri 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1055	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality Location Lakeview - 1608
20th Century Photography	2622 (001)	Alice Maggie Hazard	Fri 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1073	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Media Art Histories and Genealogies	2703 (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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2264	Credits 3	Department Film, Video, New Media, and Animation Area of Study Theory Location MacLean 1307
History of Film Animation	2704 (001)	James Trainor	Mon 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2265	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1307
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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2220	Credits 3	Department Art History, Theory, and Criticism Area of Study Graphic Design Location Lakeview - 1608
Art Crit:Write for Mag/News	2751 (001)	Margaret Hawkins	Fri 12:15 PM - 3:00 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1056	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 203
Sophomore Seminar: Interdisciplinary	2900 (001)	Ellen Grimes	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1768	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1255
Sophomore Seminar: Interdisciplinary	2900 (002)	Ellen Grimes	Thurs 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1769	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1240
Sophomore Seminar: Interdisciplinary	2900 (003)	Anjulie Rao	Tues 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1770	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1240
Sophomore Seminar: Interdisciplinary	2900 (006)	Ali Blake	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1767	Credits 3	Department Art Education Location Sharp 404
Sophomore Seminar: Interdisciplinary	2900 (016)	Kristin McWharter	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1779	Credits 3	Department Art & Technology / Sound Practices Location MacLean 414
Sophomore Seminar: Interdisciplinary	2900 (021)	Emily Schroeder Willis	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1782	Credits 3	Department Ceramics Location Lakeview - 1427
Sophomore Seminar: Interdisciplinary	2900 (027)	Peter J Zerillo	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2356	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1231
Sophomore Seminar: Interdisciplinary	2900 (031)	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1764	Credits 3	Department Fashion Design Location MacLean 816
Sophomore Seminar: Interdisciplinary	2900 (032)	Bambi Deidre Breakstone	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1765	Credits 3	Department Fashion Design Location Lakeview - 1428
Sophomore Seminar: Interdisciplinary	2900 (033)	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2214	Credits 3	Department Fashion Design Location Lakeview - 206
Sophomore Seminar: Interdisciplinary	2900 (034)	Benjamin Larose	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2215	Credits 3	Department Fashion Design Location Lakeview - 1427
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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1783	Credits 3	Department Fiber and Material Studies Location Lakeview - 206
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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1771	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Environmental Extractions: Art, Place, and Voice	2900 (042)	Mikey Peterson	Fri 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1772	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Documentary Ethics	2900 (043)	Paige Taul	Mon 8:30 AM - 11:15 AM In Person
Description In documentary media, there is a tension between the real (the world and people to which the filmmaker directs their gaze and records) and the creative or expressive treatment of the real (the argument and rhetorical devices by which the filmmaker presents the recordings). This tension raises questions about the truth and value of the documented world, about the rights one has to the representations of others, and about the coherence of one¿s own self. The course will examine a number of documentaries, both historic and contemporary, as case studies whose production, formal choices, exhibition and reception bring particular ethical concerns to light. Case studies will broach issues such as consent in films including Obedience (1965), Grey Gardens (1975), and The Thin Blue Line (1988); the power dynamic of the camera through Cameraperson (2016) and Sans Soleil (1983); ethnographic representation of one¿s self/others in works such as Malni (2020), Tongues Untied (1989) and Nanook of the North (1922); the agency of social actors as in Harvest of Shame (1960), Foragers (2022) and the Act of Killing (2012) and much more. Every week, participants will lead class discussion which will require contextual research, individual presentations and in depth reading. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2193	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Sophomore Seminar: Interdisciplinary	2900 (046)	Allie n Steve Mullen	Tues 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1787	Credits 3	Department Undergraduate Studies Location MacLean 111
Sophomore Seminar: Interdisciplinary	2900 (047)	Steven Heyman	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1788	Credits 3	Department Undergraduate Studies Location MacLean 501
Sophomore Seminar: Interdisciplinary	2900 (048)	Sherry Antonini	Wed 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1789	Credits 3	Department Undergraduate Studies Location Online
Sophomore Seminar: Interdisciplinary	2900 (049)	Joseph David Belknap	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1790	Credits 3	Department Undergraduate Studies Location MacLean 818
BODY POSITIVE	2900 (051)	Erica R. Mott	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1763	Credits 3	Department Performance Location 280 Building Rm 012
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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1781	Credits 3	Department Photography Location 280 Building Rm 214
Sophomore Seminar: Interdisciplinary	2900 (061)	Jasper Goodrich	Mon 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1780	Credits 3	Department Printmedia Location 280 Building Rm 203
Sophomore Seminar: Interdisciplinary (Fall)	2900 (066)	Leah Ke Yi Zheng	Wed 8:30 AM - 11:15 AM In Person
Description This fall section of Sophomore Seminar is for second-semester Sophomores. Students must have 39 credits or more to enroll in this course. 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1774	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1775	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary (Fall)	2900 (069)	Alexis de Chaunac	Mon 8:30 AM - 11:15 AM In Person
Description This fall section of Sophomore Seminar is for second-semester Sophomores. Students must have 39 credits or more to enroll in this course. 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1777	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary	2900 (071)	Kevin Kaempf	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1778	Credits 3	Department Sculpture Location 280 Building Rm 032
Hybrid Practices	2900 (081)	Joshua Rios	Tues 3:30 PM - 6:15 PM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1802	Credits 3	Department Visual and Critical Studies Location 280 Building Rm 120
Design Strategies	2900 (086)	Kimberly Karen Viviano	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1785	Credits 3	Department Visual Communication Design Location Sharp 1108
Design Strategies	2900 (087)	Riesling Dong	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1786	Credits 3	Department Visual Communication Design Location Sharp 1108
Writing 360 Degrees	2900 (091)	Anne Calcagno	Wed 12:15 PM - 3:00 PM In Person
Description All writing begins with a writer. The writer in the middle of time, the writer alone, the writer entering a history of writers, the writer-child, the writer-citizen, the writer as artist among artists. Through reading and writing, and exploring our senses, those receptors of attention, we will seek to enter in vibrant conversation with ourselves in the current broader world. Using a process notebook, you will create an experiential record of your journey through the class. We will do close readings of poems, stories and essays, and listen to artists¿ presentations. We will study texts off the page, by visual artists. Some of the artists we will study are: Layli Long Soldier, Octavia Butler, David Whyte, Sharon Olds, Mary Oliver, Andy Goldsworthy, Eula Biss, and Robin Wall Kimmerer. Assignments/projects: Complete a PowerPoint presentation. Write a piece of creative prose. Make a record of what you have worked on throughout the course. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1766	Credits 3	Department Writing Location Lakeview - 803
Sophomore Seminar: Interdisciplinary	2900 (111)	C. C. Ann Chen	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1792	Credits 3	Department Undergraduate Studies Location MacLean 111
Sophomore Seminar: Interdisciplinary	2900 (112S)	Larry Lee	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1793	Credits 3	Department Undergraduate Studies Location Lakeview - 203
Sophomore Seminar: Interdisciplinary	2900 (113)	Markus Dohner	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1794	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
Sophomore Seminar: Interdisciplinary	2900 (115)	Nancy Sanchez Tamayo	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1796	Credits 3	Department Undergraduate Studies Location Lakeview - 203
Sophomore Seminar: Interdisciplinary	2900 (116)	Aram Han Sifuentes	Fri 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1797	Credits 3	Department Undergraduate Studies Location MacLean 112
Sophomore Seminar: Interdisciplinary	2900 (117)	Kaylee Rae Wyant	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1798	Credits 3	Department Undergraduate Studies Location Lakeview - 1427
Sophomore Seminar: Interdisciplinary	2900 (120)	Isabel Garcia-Gonzales	Fri 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1801	Credits 3	Department Undergraduate Studies Location MacLean 301
Sophomore Seminar: Interdisciplinary	2900 (50S)	Sarah Jean Belknap	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1791	Credits 3	Department Undergraduate Studies Location Lakeview - 205
Repertoire	2900 (68S)	Rachel Niffenegger	Wed 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1776	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Writing Art History	2901 (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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1068	Credits 3	Department Art History, Theory, and Criticism Location MacLean 816
Intermediate Sculpture	3000 (001)	Stephanie Brooks	Tues 9:00 AM - 3:00 PM In Person
Description Students in this course pursue assignment-based explorations in sculpture. Technical demonstrations help students develop material interests and studio skills, including innovative uses of both traditional and digital processes. Within the semester students will produce (three) projects with a focus on the artistic and social contextualization of their work. Multiple individual critiques help students analyze their work and articulate their intentions. Student presentations and readings deepen the student's theoretical groundings in the discipline. Class critiques are a workshop forum for application of the knowledge and verbal skills that define an artistic and aesthetic position. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 2483	Credits 3	Department Sculpture Location 280 Building Rm 023
Intermediate Graphic Design	3001 (001)	Donald Pollack	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. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1830	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1116
Offset Productions	3001 (001)	Tom 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.	Class Number 1556	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 220
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.	Class Number 1803	Credits 3	Department Undergraduate Studies Area of Study Art/Design and Politics Location Sharp 402
Painting Studio A: Multi-Level	3001 (001)	Noah 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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1618	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Intermediate Graphic Design	3001 (002)	Mary Krysinski	Thurs 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. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1829	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Top: Chance and Intentionality	3001 (002)	Patrick Durgin	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1811	Credits 3	Department Visual and Critical Studies Location MacLean 608
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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1619	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Top:Theorizing Disability	3001 (003)	Joseph Grigely	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1808	Credits 3	Department Visual and Critical Studies Location MacLean 707
Painting Studio A: Multi-Level	3001 (003)	Jessica Jackson Hutchins	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1620	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Top: Marxism, Art, and Culture	3001 (004)	Zachary Tavlin	Fri 12:15 PM - 3:00 PM In Person
Description Marxism isn't just about the 'real world' critique of capitalism and the potential rise of communism. Many thinkers and critics who have written in the wake of Karl Marx have tried to articulate what it means (and why it's important) to read like a Marxist, to understand literature, art, and all the rest of human culture as a historical expression of the human condition under capital. This course serves as an introduction to Marxism and Marxist aesthetics, literary criticism, and cultural critique. We will begin by reading Marx and Engels, and then spend most of the semester considering core concepts as they develop over the subsequent century and a half of Marxist art, literary, and cultural criticism. We will ask questions like: what is the relationship between narrative representation, socio-political life, and its underlying economic forces? Do artworks produce autonomous worlds and meanings or are they entirely shaped by capitalism and class society? How do artifacts like novels, poems, theatrical texts, films, or visual artworks theorize history and society? What do the rise of specific forms, genres, and popular cultural practices tell us about social history? To what extent is it useful to read like/as a Marxist (and are there limitations in doing so)? Prerequisites Prerequisite: First Year English requirement.	Class Number 1809	Credits 3	Department Visual and Critical Studies Location MacLean 111
Painting Studio A: Multi-Level	3001 (004)	Jo Hormuth	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1621	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (005)	Paul Heyer	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1622	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (006)	Pedro Montilla	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1623	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (007)	Karen Azarnia	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1624	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (008)	Steven Husby	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1625	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1626	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (010)	Noah 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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1627	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (011)	Rush Baker IV	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1628	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (012)	Robert Burnier	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1664	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Ptg Std B:Ink Paint:Brush Zen	3002 (001)	Su Kaiden Cho	Fri 9:00 AM - 3:00 PM In Person
Description This class will begin with an introduction to the basics of ink and brush painting (Sumi-e), learn how to use tools, materials and developing ideas and techniques for creating paintings. An introduction to the Eastern philosophy of Zen will be made as well as the basic practice of Zen meditation, concentration, self-reflection, and inner strength building. Students will develop basic skills of the ink medium; they will be encouraged to explore their creativity through meditating and experimenting within the possibilities of the ink medium. Two slides presentations will be given for the class: Slides presentation A: A brief history of bamboo paintings. Study of works by old masters: Wen Tong (1018-1079), Ke Jiusi (1290-1343), Zhen Xi (1693-1765, one of eight eccentrics of Yangzhou School, his theory and practice) Shi Tao (1641-1707, a master of Huang Shan School), Pu Hua (1836-1911, a Shanghai master of the late 19th century. Slides presentation B: An introduction of comparative study to Chinese modern and contemporary ink painting. Works by Qi Bai Shi (1863-1957), Lin Fengmian (1900-1991), Li Jing (born: 1958), Chai Yiming (born: 1965) and others artist's works will be showed and discussed. Besides weekly assignments, a body of work (approximate 10 pieces in fair sizes) and an artist statement are needed to be presented at final critique. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 1677	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Survey of Literature II: Unsettling American Lit	3002 (001)	Jane Robbins Mize	Tues 3:30 PM - 6:15 PM In Person
Description This course will introduce students to modern and contemporary literature by thinking through and against the canon. We will read across genres and traditions while discussing how culture, identity, and power relations impact the production and reception of literature in twentieth- and twenty-first-century America. Through readings such as Nella Larsen¿s Passing (1929) and N. Scott Momaday¿s House Made of Dawn (1968), we will analyze texts that unsettle hegemonic aesthetics and amplify marginalized voices. As such, students can expect to develop as critical thinkers, close readers, writers, and researchers. Prerequisites Prerequisite: First Year English requirement.	Class Number 1500	Credits 3	Department Liberal Arts Location MacLean 111
Large-Format	3002 (001)	Alan Labb	Tues 9:00 AM - 3:00 PM In Person
Description Large Format Photography introduces students to the concepts and aesthetics of working with a large-format view camera. Students will learn pre-visualization, camera movements, perspective control, large-format optics, and sheet film handling. Through flexible assignments, they are encouraged to develop a personal style while exploring traditional genres such as portraiture, landscape, studio, and architecture. Technical skills include view camera setup, the zone system, large-format scanning, and both analog and digital printing. Each student is assigned a 4x5 studio camera and has access to 8x10 and 4x5 field cameras, along with various optics and accessories. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1530	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
Intermediate And Advanced Etching	3002 (001)	Eliza Myrie	Fri 9:00 AM - 3:00 PM In Person
Description This presentation of intaglio techniques emphasizes a variety of multi-plate color printing processes. The course concentrates on individual development through the intaglio process. Prerequisites Prerequisite: PRINT 2002 or PRINT 2006.	Class Number 2135	Credits 3	Department Printmedia Location 280 Building Rm 223
Ptg Std B:Funny Painting	3002 (002)	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. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 2196	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
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.	Class Number 1655	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement, Illustration, Animation Location Online
Video Everywhere	3003 (001)	Mikey Peterson	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. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1441	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Social Media and the Web Location MacLean 518
Digital Audio Production	3003 (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.	Class Number 1146	Credits 3	Department Art & Technology / Sound Practices Location MacLean 431
Individual Projects	3004 (001)	Jonas Becker	Mon 9:00 AM - 3:00 PM In Person
Description This course fosters the development of self-directed, research-driven projects, challenging students to push beyond traditional photographic approaches and explore interdisciplinary practices. Emphasizing experimentation, students refine their conceptual depth and technical skills while advancing a sustained body of work. Through critiques, discussions, collaborations, workshops, and individual mentoring, the course supports ambitious project development and strategies for exhibition, publication, and public engagement. Designed to complement Senior Capstone projects, it prepares students for the BFA exhibition and professional creative practices. May be repeated for credit. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1542	Credits 3	Department Photography Location 280 Building Rm 216
Top: Doubles	3004 (001)	Whitney D. Johnson	Mon 9:00 AM - 3:00 PM In Person
Description Mirrors, alter egos, polarities, doppelgängers, gender binaries, impostors, twins, and shadows. Many auditory illusions also arise from doubles. For example, the two sides of the human head can produce psychoacoustic phenomena, such as binaural beats. The dual nature of audio-visual experiences can produce complex illusions, such as the McGurk effect. To knock at the door of these doubles, we will read a few words on doubles by doubles--Jung and Lacan, Sontag and Butler, Sartre and Fosse, Fanon and Said, Artaud and Bataille--and listen to sonic doubles in contemporary practice. Automatic writing will prepare us to create our own auditory illusions in recorded and performed stereophonic sound. Will these doubles sublate?	Class Number 2185	Credits 3	Department Art & Technology / Sound Practices Location MacLean 521
Digital Music: Concepts, Structures, Materials	3005 (001)	William Harper	Thurs 9:00 AM - 3:00 PM In Person
Description This course introduces students to the fundamental materials of music composition, the structures used to shape these materials, and techniques and strategies students can use to create fully formed pieces of music. Referencing traditional and experimental practices from many cultures and histories, we examine the basic musical elements of rhythm, meter, tonal organization, harmony, and timbre. These are applied in a digital studio environment via sampling, sound synthesis, looping, and live recording using Apple's Logic digital audio workstation. Musical works by artists from diverse backgrounds and identities are analyzed to understand how these materials and concepts are used to sculpt emotional expressions, narrative forms, abstract constructions, or conceptual statements. Students work with these references, elements, and materials to make their own work in genres of their own choice. No style of music is off limits. Course work will vary but typically includes participation in weekly experiments and the presentation of self-devised projects at midterm and the end of the semester. Students work with the materials, structures, and techniques introduced to make their own work in genres of their own choice.	Class Number 1145	Credits 3	Department Art & Technology / Sound Practices Location MacLean 431
Top: FRANKENSTEIN SCREEN TEST	3005 (001)	Kate O'Neill	Tues 9:00 AM - 3:00 PM All Online
Description Taking its title from Andy Warhol¿s eerie, steady-shot 1960s film portraits and Mary Shelley¿s Gothic tale of an assembled body animated by new technology, this course investigates convergences between photography and the screen, with special attention to hybrid media practices; collage and montage; the body; and images that are animated, reanimated, or stilled. Foregrounding experimental uses of photography in relation to moving images, animation, and screen-based display, the course introduces artists who challenge conventional boundaries between still and moving image, photography and cinema, body and machine. Students will produce a series of short projects investigating these ideas through photographic, time-based, and hybrid media experiments, culminating in a final project situating photography within the expanded field of screen culture. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1535	Credits 3	Department Photography Location
Advanced Stitch	3005 (001)	Melissa Leandro	Wed 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. Prerequisites FIBER 2005 or Sophomore Level	Class Number 1405	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Top:Fashion Photography	3005 (002)	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. This course requires instructor consent and an application. Please do not email the instructor directly. Instead, fill out the form at this link, https://tinyurl.com/mwuhuntx, to submit your portfolio and application before the deadline. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1540	Credits 3	Department Photography Location 280 Building Rm 207
Top:Fashion Photography	3005 (002)	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. This course requires instructor consent and an application. Please do not email the instructor directly. Instead, fill out the form at this link, https://tinyurl.com/mwuhuntx, to submit your portfolio and application before the deadline. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1540	Credits 3	Department Photography Location 280 Building Rm 207
Top: Light/Emulsion/Process	3005 (003)	Monika Niwelinska	Tues 3:30 PM - 9:15 PM In Person
Description Light - Emulsion - Process refines and expands the potential of alternative photographic practices taught in the Photo Department. The course is geared toward students who wish to deepen a conceptually driven approach to photosensitive imagery within their artistic work. It covers a range of alternative photographic processes, supported by selected digital techniques, and approaches alternative photography as a vital mode of contemporary artistic expression and engagement with the world. The course fosters both rigorous technical exploration and a focus on individual artistic narratives. At the core lies the synthesis of conceptual inquiry and aesthetic outcome - an effort to generate meaning and making against the historical ballast and enduring significance of the photosensitive medium. Grounded in both theoretical reflection and visual research, the course emphasizes research-based studio practice. The studio component encourages experimentation across diverse alternative processes and culminates in the realization of two independent, long-term projects developed over the semester. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1546	Credits 3	Department Photography Location 280 Building Rm 216
Top: Photographic Books	3005 (004)	Robert Clarke-Davis	Thurs 9:00 AM - 3:00 PM In Person
Description The class will address the photographic book. We will investigate the numerous styles and how it influences meaning. We will question the limits of books where photography will be the main emphasis. This is not a class that will be primarily on structure we will not be making books beyond the most basic level. The quality and traits of print on demand publishing and visit with local publishers and editors will be arranged. We will almost live in the Joan Flash Artists' Book Collection. The main text will be the Structure of the Visual Book by Keith Smith. Among courses that would work well in conjunction are: Structuring/Sequencing/Series and Artist Books. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1549	Credits 3	Department Photography Location 280 Building Rm 214
Analog Systems	3007 (001)	Brett Ian Balogh	Tues 9:00 AM - 3:00 PM In Person
Description What can analog electronics teach us about making art in a world shaped by digital systems? This hands-on studio explores circuits as creative tools, focusing on sound, light, and motion as expressive media-without relying on code or software. Students can step outside the shadow of AI and mass computation to explore a more intimate relationship between materials, energy and creativity-while experimenting with performance, interactive objects, audiovisual instruments, and installations. Alongside studio practice, we will look at artists who have expanded the possibilities of analog media and study pioneering tools such as the Sandin Image Processor, a patch-programmable analog computer. Students will be invited to connect these histories and techniques to their own practices through the creation of a final project. No prior experience is required-only curiosity, imagination, and a willingness to learn.	Class Number 1116	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science, Social Media and the Web Location MacLean 423
Image Editing & Output	3007 (001)	Colleen Plumb	Thurs 9:00 AM - 3:00 PM In Person
Description Image Editing & Output refines digital imaging skills with a focus on post-production and high-quality printing. Students refine workflows, develop expertise in advanced editing techniques like color management, masking, and compositing, and explore creative post-production methods using Photoshop and other software. Technical assignments and self-directed projects reinforce these skills. Readings and discussions address contemporary issues in digital imaging and evolving output technologies. As digital tools constantly change, students develop research and problem-solving strategies to adapt their workflows and stay current with new advancements. This course balances technical precision with creative exploration, preparing students for the ever-evolving world of digital imaging. Prerequisites Prerequisite: PHOTO 1001 and PHOTO 2010.	Class Number 1547	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 215
Top: Gender: Theory & Action	3007 (002)	Whitney D. Johnson	Tues 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1750	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location MacLean 301
Topics in Gender and Sexuality	3007 (003)	Ivan Bujan	Mon 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1761	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location MacLean 816
Intermediate/Advanced Screenprinting	3008 (001)	Oli Watt	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. Prerequisites PRINT 2005 or 2008 Pre-req	Class Number 1559	Credits 3	Department Printmedia Location 280 Building Rm 222
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.	Class Number 1117	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location Michigan B1-19
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.	Class Number 2229	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 409
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. Prerequisites Prerequisite: FASH 2007	Class Number 1374	Credits 3	Department Fashion Design Area of Study Illustration Location Sullivan Center 734
Structuring, Sequencing and Series	3010 (001)	Aimée Beaubien	Mon 9:00 AM - 3:00 PM In Person
Description Structuring, Sequencing, Series explores how photographic meaning is shaped through sequences and series¿fundamental ways we encounter images in books, exhibitions, installations, and digital spaces. This course examines how structure influences interpretation, considering both narrative and non-narrative approaches across diverse genres. Through hands-on assignments, students will experiment with serial imagery in photobooks, zines, portfolios, web-based projects, installations, video, and projection. By analyzing historical and contemporary examples, students will develop a deeper understanding of photography¿s evolving role and refine their ability to construct compelling visual narratives. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1539	Credits 3	Department Photography Area of Study Digital Imaging, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 215
Tutorial in Visual and Critical Studies	3010 (001)	Danny Floyd	Thurs 3:30 PM - 6:15 PM 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. Prerequisites Prerequisite: Open to BAVCS/BFAVCS students only.	Class Number 1806	Credits 3	Department Visual and Critical Studies Location Lakeview - 1427
Tutorial in Visual and Critical Studies	3010 (002)		Thurs 3:30 PM - 6:15 PM 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. Prerequisites Prerequisite: Open to BAVCS/BFAVCS students only.	Class Number 2525	Credits 3	Department Visual and Critical Studies Location Lakeview - 1428
Intermediate Typography	3011 (001)	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. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1832	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Books and Publishing Location Sharp 1115
Sound and Image	3011 (001)	Lou Mallozzi	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. Prerequisites SOUND 2001 or FVNM 2004 or FVNM 5020	Class Number 2227	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 1413
Illustration: Objects of Fashion and Lifestyle	3011 (001)	Donald Yoshida	Fri 9:00 AM - 3:00 PM In Person
Description This class focuses on various drawing techniques and skills with an emphasis on illustrating fashion accessories and lifestyle objects that fill our world. Personal style and media exploration are aimed at developing portfolios. Concentration on presentation ideas and refining design details are included in this studio workshop. Students work on studio problems, sketchbook assignments, and individual projects. Prerequisites Prerequisite: FASH 2007	Class Number 1384	Credits 3	Department Fashion Design Location Sullivan Center 734
Exploratory Media	3011 (001)	Sara Condo	Fri 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. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1541	Credits 3	Department Photography Area of Study Digital Communication, Social Media and the Web Location 280 Building Rm 216
Sound and Image	3011 (001)	Lou Mallozzi	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. Prerequisites SOUND 2001 or FVNM 2004 or FVNM 5020	Class Number 2226	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication Location MacLean 1413
Intermediate Typography	3011 (002)	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. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1831	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Books and Publishing Location Sharp 1116
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.	Class Number 1136	Credits 6	Department Art & Technology / Sound Practices Area of Study Art/Design and Politics Location MacLean 522
DIY: Self-Management for Artists	3012 (001)	Cortney Lederer	Thurs 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.	Class Number 1101	Credits 3	Department Arts Administration and Policy Location MacLean 620
Ritual and Art Making in Healing	3012 (001)	Melissa Raman Molitor	Tues 8:30 AM - 11:15 AM In Person
Description This course explores the use of ritual and art making for personal and social practice. Students reflect on ritual as part of daily life, familial rituals, cultural rituals, and life-cycle rituals, and examine the process by which art embodies, represents, and transforms them. The exploration of ritual and making as a form of engagement, participation, and collaboration provides context for class discussion, group projects, and individual work. The role that ritual and making play in encouraging personal well-being, and fostering community is discussed and explored both in class and through off-campus visits.	Class Number 2512	Credits 3	Department Art Therapy Location Sharp 404
Designing Distant: Design for Learning	3013 (001)	Laura L Prieto-Velasco	Sat 1:00 PM - 3:45 PM In Person
Description Systemic change requires influencing decision makers - be they members of the public, CEOs or politicians. By engaging in the creative act of world-building, and embodying the results through made artifacts, spaces, or digital media, artists and designers are able to make work that acts as platforms for fostering debate and, ultimately, change. This course goes beyond design's conventional end-user focused problem-solving approach, focusing instead on how to use art and design to develop impactful stories. Educational design - beyond toys and games - shapes the future; be it influencing public thought, re-thinking learning approaches, or creating educational environments. Through the creative process, designers draw inspiration from global approaches as well as reflect upon personal experiences. Designers have the ability to influence how we might continue to learn to build and access knowledge in a fast-paced and information rich world. This course expands upon design¿s end-user-problem-solving approach and explores the ways we build, share, and seek knowledge; from the first human exchanges, storytelling, theories of information sharing, and present approaches. It also introduces the fields of Instructional, Empathetic, and Learning Experience Design as well as Educational Technology to engage designers with past and present learning models. Along with regular readings and discussions, designers will explore their topic in depth through research and model building, concluding in one final project that illustrates their contribution to the future of learning.	Class Number 2522	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design, Sustainable Design Location
Supply and Surplus: The Art of Making Things	3014 (001)	Jackey Cave	Wed 9:00 AM - 3:00 PM In Person
Description This advanced course focuses on the making of things through the use of drawing, garment, and sculpture and its use in lifestyle. Outings to a variety of alternative sites are the central part of this class, including thrift stores, warehouses, flea markets, and the rural surroundings. Students investigate the idea of 'Usefulness' as well as function, content, appropriate design, and audience. Emphasis is placed on challenging the narrative definition of 'The art of making things.' Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1376	Credits 3	Department Fashion Design Area of Study Public Space, Site, Landscape, Sustainable Design Location Sullivan Center 723
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1685	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 617
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1686	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 617
Artist's Books: Unbound	3016 (001)	Anna Laure Kielman	Thurs 9:00 AM - 3:00 PM In Person
Description This course will engage the artists' book through the lens of the everyday. The relationship between traditional and emerging technologies will be emphasized with found and self-produced book forms. We will pursue numerous conditions, contemporary strategies and histories surrounding the book as an everyday object. Students will explore through making, ideas of parody/homage, the multiple, mass production, self-publishing, narrative, appropriation, value structures and the influence of the everyday in contemporary art discourse.	Class Number 2137	Credits 3	Department Printmedia Area of Study Community & Social Engagement, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 113
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. Prerequisites Prerequisite: FASH 2016 or instructor consent	Class Number 1369	Credits 3	Department Fashion Design Location Sullivan Center 723
Digital Jacquard Weaving: Zeroes and Ones	3017 (001)	Erica Littlejohn	Sat 10:00 AM - 4:00 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. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1418	Credits 3	Department Fiber and Material Studies Area of Study Digital Imaging Location Sharp 1005
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, engineer and transgender activist Lynn Conway, and Margaret Hamilton -- 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, JR Carpenter, 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.	Class Number 1120	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication, Digital Imaging, Gender and Sexuality Location Online
Disability Studies: Re-Imagining Bodies	3018 (001)	Chun-Shan (Sandie) Yi	Mon 12:15 PM - 3:00 PM In Person
Description What is disability? How do we see, read, hear, smell and feel about disability? How does society represent disability and illness? How do artists theoretically and conceptually engage disability in their own practices? This course offers students critical thinking tools to examine the meanings of disability created by current social, cultural, economic and political systems. Over the course of the semester, students develop artistic vocabulary in relation to visual and cultural representations of disability found in mainstream society and in Disability Culture/Disability Art contexts. Readings include the following topics: disability frameworks, disability as intersectional identity, and representations in art, media, fashion, and design . Students learn about the range and complexity of disability representations through the works of contemporary artists such as Riva Lehrer, Laura Swanson, and Christine Sun Kim, and through the work of dance and performance art groups. Students also read the work of disability scholars including Carrie Sandahl, Rosemarie Garland-Thomson, Eli Clare, Alison Kafer, and Petra Kuppers. Coursework includes bi-weekly writing responses, a disability culture event paper, a media report, and a final art and writing project.	Class Number 2101	Credits 3	Department Art Therapy Area of Study Politics and Activisms, Gender and Sexuality, Narrative Location Lakeview - 1427
Advanced Artists' Books	3018 (001)	Myungah Hyon 현명아	Wed 9:00 AM - 3:00 PM In Person
Description Advanced Artists' Books is an intermediate to advanced course for students with prior experience in bookmaking who are ready to deepen their technical skills and conceptual approaches. The class emphasizes integrating visual and written materials across sequential pages while exploring advanced binding techniques and experimental structures. Students will be challenged to pursue complex, personalized projects that require critical thinking, risk-taking, and creative use of materials. Alongside technical development, the course highlights analysis of contemporary practices in book arts and encourages students to expand their understanding of how book forms function as both artistic objects and modes of communication. Midway through the semester, students will participate in a group exhibition at the Joan Flasch Artists' Book Collection (JFABC), providing a professional platform for showcasing their work. Prerequisites Prerequisite: PRINT 2018 or PRINT 3007.	Class Number 1562	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Material Actions	3018 (001)	Ginger Krebs	Thurs 9:00 AM - 3:00 PM In Person
Description This course is a laboratory for researching physical materials, and the ways that we might or already do interact with them. We will explore the materiality of our bodies by enacting Fluxus scores and inventing our own, experimenting with taste and touch, and investigating material states that elude clear classification, like the viscous. We'll make tools that extend the body's reach and alter its impact, and site performances in material environments that we build. We'll consider object-oriented ontology (which maintains that objects exist independently of human perception) as we learn strategies for accessing non-human qualities of presence from Japanese butoh, bunraku and clown, which deconstruct human behavior in order to enchant the non-human or highlight the humor inherent in social interaction. We'll considering the role of ritual objects as repositories for human desire, and reflect on psychological and symbolic relationships to materials in stories by Robin Wall Kimmerer and Franz Kafka. And we'll trace networks through which materials move between our bodies and larger environments, through readings, research presentations and field trips to study municipal infrastructure in the city.	Class Number 1517	Credits 3	Department Performance Location MacLean 2M
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. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1372	Credits 3	Department Fashion Design Location Sullivan Center 701
Twist	3019 (001)	Jerry Bleem	Thurs 9:00 AM - 3:00 PM In Person
Description This class investigates the properties of the elemental act of twisting raw materials into pliable linear elements. Students learn to spin and ply--using drop spindles and wheels--and to extend elements through rope making and various splicing techniques. Building on this foundation, students manipulate these fibrous elements into 2- and 3-dimensional forms as well as exploring expressive possibilities, and the limits of materials and structures. Topics for reading and discussion include the development of spinning and textile production, the social and economic histories of labor, historic and contemporary art examples of spun and structured fiber, and current cultural interests in reclaiming the handmade. Course work includes reading responses, participation in discussions, assembling a set of samples, reporting on research and 3 studio projects.	Class Number 2110	Credits 3	Department Fiber and Material Studies Location Sharp 902
Hardware Hacking	3020 (001)	Bonnie Han Jones	Mon 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.	Class Number 2187	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 423
Latinx/e Art and Visual Culture	3020 (001)	Deanna Ledezma	Mon 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1057	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Community & Social Engagement, Art/Design and Politics Location MacLean 920
Analog Synthesis	3021 (001)	Austen Brown	Wed 9:00 AM - 3:00 PM In Person
Description This course explores the foundations of modular analog synthesis, working hands-on with oscillators, amplifiers, and filters to create original sound works. Students will use both vintage and contemporary equipment to learn frequency and amplitude modulation, sequencing, frequency shifting, and other core processes that shaped the history of electronic music. Historical case studies situate these techniques within the work of pioneering composers such as Stockhausen, Radigue, Koenig, Subotnik, Oliveros, and Spiegel, connecting classical studio methods to contemporary practice. Weekly compositional projects encourage students to apply specific technical strategies while developing their own aesthetic approach. By the end of the course, students will have produced a portfolio of analog compositions that reflect both technical fluency and creative exploration in modular synthesis.	Class Number 2223	Credits 3	Department Art & Technology / Sound Practices Location MacLean 416
Constructing Meaning: Exhibit Design Practicum	3021 (001)	Amy Reichert	Thurs 12:15 PM - 3:00 PM In Person
Description This course will focus on theoretical and practical aspects of exhibition design, including construction aesthetics, community engagement, and the politics of display. Topics covered range from lighting and human perception to voice and authority in museum labels. These issues will be explored via individual site visits to established and alternative exhibit spaces, where students will critique current installations, as permitted by Covid restrictions. Guest speakers from major museums will supplement class lectures and discussions. We will adopt a critical stance in exploring the relationship between people, objects, and space in this environment.	Class Number 1106	Credits 3	Department Arts Administration and Policy Area of Study Exhibition and Curatorial Studies Location MacLean 301
Fashion Intensive Portfolio	3021 (001)	Edgar X. Aguilera	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. Prerequisites FASH 2900 or Instructor Permission	Class Number 1385	Credits 3	Department Fashion Design Location Sullivan Center 723
Deconstructing the Domestic and Infiltrating the Industrial	3023 (001)	Marie Herwald Hermann, Alex Chitty	Wed 9:00 AM - 3:00 PM In Person
Description This course deconstructs and reconstructs ceramic processes and materials to discover crossovers between handmade and industrially produced ceramic objects. We investigate how ceramic objects infiltrate other artistic disciplines by exploring the methodologies and historical use of ceramics as raw material in sculptures, or as props in paintings, cinema, photography, and performance. This course takes account of the ways that ceramics exists beyond the arts, within in our everyday lives, as a way to bridge those histories into the work we make together in this course. Readings will vary but typically include Postproduction by Nicolas Bourriaud, Schizogenesis: The Art of Rosemarie Trockel, and look at a selection of works from artists such as: Mark Manders, Theaster Gates, Robert Gober, Ladi Kwali, Rachel Harrison, Nicholas Cage, Heather Cassils, and Rosemarie Trockel, Julia Philipps, Sterling Ruby, Eva Zeisel, Ai Weiwei, Betty Woodman, Arlene Shechet, and Rebecca Warren. Students will practice traditional and nontraditional methods of working with ceramics. Students can expect to work alone and in groups to create, destroy, mend, reconstruct, and reformulate all manner of ceramic objects.	Class Number 2143	Credits 3	Department Ceramics Area of Study Public Space, Site, Landscape, Digital Imaging, Art and Science Location 280 Building Rm M153
Deconstructing the Domestic and Infiltrating the Industrial	3023 (001)	Marie Herwald Hermann, Alex Chitty	Wed 9:00 AM - 3:00 PM In Person
Description This course deconstructs and reconstructs ceramic processes and materials to discover crossovers between handmade and industrially produced ceramic objects. We investigate how ceramic objects infiltrate other artistic disciplines by exploring the methodologies and historical use of ceramics as raw material in sculptures, or as props in paintings, cinema, photography, and performance. This course takes account of the ways that ceramics exists beyond the arts, within in our everyday lives, as a way to bridge those histories into the work we make together in this course. Readings will vary but typically include Postproduction by Nicolas Bourriaud, Schizogenesis: The Art of Rosemarie Trockel, and look at a selection of works from artists such as: Mark Manders, Theaster Gates, Robert Gober, Ladi Kwali, Rachel Harrison, Nicholas Cage, Heather Cassils, and Rosemarie Trockel, Julia Philipps, Sterling Ruby, Eva Zeisel, Ai Weiwei, Betty Woodman, Arlene Shechet, and Rebecca Warren. Students will practice traditional and nontraditional methods of working with ceramics. Students can expect to work alone and in groups to create, destroy, mend, reconstruct, and reformulate all manner of ceramic objects.	Class Number 2143	Credits 3	Department Ceramics Area of Study Public Space, Site, Landscape, Digital Imaging, Art and Science Location 280 Building Rm M153
Beginning Screenwriting	3024 (001)	Raghav Rao	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.	Class Number 1431	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting, Books and Publishing Location MacLean 517
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.	Class Number 1439	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting, Books and Publishing Location MacLean 517
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. Prerequisites Prerequisite: Must have completed one Art Therapy, Art Ed or Artsad class prior to enrolling.	Class Number 1111	Credits 3	Department Art Therapy Area of Study Politics and Activisms, Collaboration, Interaction and Participation Location Sharp 404
Lit Art: Literary styles of describing, interpreting, and explaining works of art.	3025 (001)	David Raskin	Thurs 12:15 PM - 3:00 PM In Person
Description This museum-based seminar welcomes writers of all kinds, including creative writers, critics, and scholars. We explore literary forms, including poetry, short stories, personal essays, plays, and songs, along with their connections to visual art at the Art Institute of Chicago. Each week, we analyze literary pieces inspired by a work of art and then visit the museum to discuss that art in person. We will examine how the readings enhance or challenge the artwork and debate the impact of the words and images. Additionally, we will hold weekly writing workshops to provide feedback on each other¿s work, focusing on prompt-based assignments that directly engage with the art in the collection while developing both visual acuity and writing craft skills. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2363	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Museum Studies, Gender and Sexuality Location Lakeview - 205
Experimental Film and Video Narrative	3026 (001)	Anahita Ghazvinizadeh	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. Prerequisites Prerequisite: FVNM 2005, 3003 or 5020	Class Number 1461	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1304
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. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1370	Credits 3	Department Fashion Design Location Sullivan Center 727
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. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1440	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Animation Location MacLean 1408
The Unpainted Picture	3028 (001)	Diana Guerrero-Maciá	Wed 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.	Class Number 1414	Credits 3	Department Fiber and Material Studies Location Sharp 904
Chemical Aftertaste: reactive processes for screen printing	3029 (001)	Teri Carson	Fri 9:00 AM - 3:00 PM In Person
Description In this class, students will learn reactive processes for use in screen printing on fabric and pliable materials. Reactive processes are those that will chemically or physically alter the nature of the printed cloth and include; fiber reactive dyes, devoré or the burning away of fibers, bleaching and removing of color, and the sublimation of color from one surface to another. Screen printing will be the primary method of creating works, yet a broad disciplinary approach is encouraged. Assignments will be framed to address concepts of alchemy and instability, and include readings of works by; Georges Bataille, Anthony Vidler, Luce Irigaray, Yve-Alain Bois and Rosalind Krauss. Students will create three studio intensive projects for class critiques. Prior screen printing experience is recommended.	Class Number 2486	Credits 3	Department Fiber and Material Studies Location Sharp 905
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. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1629	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Installation Art	3030 (001)	Juan Angel Chavez	Mon 9:00 AM - 3:00 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.	Class Number 1720	Credits 3	Department Sculpture Area of Study Community and Social Practice, Interaction and Participation, Public Space, Site, Landscape, Public Space, Site, Landscape Location 280 Building Rm 127
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. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1671	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Figure Painting A: Multi-Level	3030 (003)	Melinda Whitmore	Thurs 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. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 2197	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
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. Prerequisites Prerequisite: PTDW 3030.	Class Number 1645	Credits 3	Department Painting and Drawing Location 280 Building Rm 320
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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1066	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Art/Design and Politics, Museum Studies Location Online
Fig Ptg B:Photo to Memory	3031 (002)	MaryLou Zelazny	Mon 9:00 AM - 3:00 PM In Person
Description Figure painters have used photographs since its invention, using it as an efficient recording tool. This multi-level class seeks to examine the role photography plays as a source for subjects, while assessing its strengths and limitations as opposed to pre-photographic traditional methods. Students will learn how to select essential information from observation to deepen their use of photography, as well as sharpen their ability to recreate visual information from daily memory drawing exercises. Students will work on painting projects focusing on three main themes; observation of the model, photographs, and recalled memory studies, culminating in an independent final project using all of the presented approaches. The concentration on blended visual inspirations helps students identify their strengths and fosters the development of their chosen subject matter. The class seeks to give students the tools needed to develop and sustain a body of work outside of the classroom environment. Students complete six paintings in class, produce daily memory sketches, and submit one final project. Painting and drawing techniques are reviewed alongside each project, accommodating all levels of experience. Daily lectures and demonstrations clearly outline the technical approaches of each project. Examples from art history and contemporary art will be shown for each area of focus through the lectures and bi-weekly visits to view reference material in the Ryerson Library. Additionally, we will use the museum, the Joan Flasch Artists Book Collection and related local exhibitions for examples and research. Prerequisites Prerequisite: PTDW 3030.	Class Number 2198	Credits 3	Department Painting and Drawing Location 280 Building Rm 315
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. Prerequisites Prerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020	Class Number 1435	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 314
Air, Fluid and Actuators	3033 (001)	Dan Miller	Wed 9:00 AM - 3:00 PM In Person
Description This kinetics course will explore the activation of art projects with materials that flow, inflate, pump, pour and move in unique ways. Demonstrations will introduce: basic electronics, pneumatics, air-muscles, inflatables, pumps, motors, actuators and the necessary means to power these devices. This course will explore materials and their unique properties when activated by these processes. Students will learn various techniques to animate and control art projects, including the use of the Arduino micro-controller and sensors. Throughout the course, screenings and readings will introduce students to artists who work with kinetics, robotics and related fields. Artists shown and discussed in class include: Theo Jansen, Rapheal Lozano-Hemmer, Chico Mac Murtrie, Rebecca Horn. Students will be introduced to organizations, galleries and networks that support this type of art work including ARS Electronica, Rhizome and Bitforms gallery. A series of workshops and smaller assignments will expose students to the potentials of these devices and processes in art making. Next, students will develop projects that utilize one or more of the systems covered in class. Students will be guided in project proposal development where ideas will be explored in group discussions. Mechanical and electronic fabrication techniques will be further explored through project development. Completed projects will be evaluated in group critiques.	Class Number 2188	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
Visualization and Storyboarding	3033 (002)	Nick Flaherty	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. Prerequisites Prerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020	Class Number 1454	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 314
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.	Class Number 1286	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location 280 Building Rm 221
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.	Class Number 1563	Credits 3	Department Printmedia Area of Study Product Design Location 280 Building Rm 221
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. Prerequisites Prerequisite: FASH 2007	Class Number 2369	Credits 3	Department Fashion Design Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Sullivan Center 734
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. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1373	Credits 3	Department Fashion Design Area of Study Digital Communication, Illustration, Digital Imaging Location MacLean 908
Top: Mystical Ceramics	3035 (002)	Sonya Bogdanova	Wed 9:00 AM - 3:00 PM In Person
Description Historically understood as the ecstatic experience of religious consciousness, mysticism has grown to encompass all visionary human experience and the pursuit of ¿ultimate truth¿. We will travel down several veins of this rhizomatic structure in the hopes of understanding its complex form. This course combines two modalities: extensive studio time and reading/discussion of mystical, esoteric, and occult texts. Emphasis will be on ceramic hand building, process, and conceptual exploration. Some of the topics and figures discussed will be mystery, magic, paganism, surrealism and dreams, folk horror, denkbild, parapolitics, pre-Columbian relics, Stanley Kubrick, David Lynch, Louise Bourgeois, Rene Magritte, Huma Bhabha, Arlene Shechet and others. You can expect to produce a body of work consisting of assigned and self-directed projects to be presented in a culminating midterm and final critique.	Class Number 1181	Credits 3	Department Ceramics Location 280 Building Rm M152
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. Prerequisites Prerequisite: FVNM 2015	Class Number 1453	Credits 3	Department Film, Video, New Media, and Animation Area of Study Game Design, Digital Imaging, Comics and Graphic Novels, Animation Location MacLean 819
Cloth at Scale	3036 (001)	Emily Winter	Fri 9:00 AM - 3:00 PM In Person
Description This intensive studio course focuses on planning, experimentation, and production of woven works on traditional floor looms, computer-interfaced looms, and semi-industrial Dobby looms housed between the weaving studios in Fiber and Material Studies and The Weaving Mill (TWM), an artist-run industrial weaving studio in Humboldt Park which blends design, production, textile education and research-based practice. This course introduces students to experimental weaving designs, unconventional methods and materials, and the opportunity to produce their ideas at scale with access to the fully mechanized Dobby looms at The Weaving Mill. Students will engage in rigorous studio practices, material culture research, and practical applications of their work. While conceptual questions around making will be central to the coursework, students will also be supported in identifying and researching the socio-economic and political ramifications of working in the language of woven cloth. Readings may include works by Hito Steryl, Rosalind Krauss, Jen Hewett, Anni Albers, T¿ai Smith, Peter Stallybrass, Karl Marx. Over the course of the semester, students will produce a range of individually-motivated woven samples and studies, eventually working within the production parameters of the industrial looms at TWM to design and produce yardage for installation, object design, and artists¿ projects. Additionally, students will work alongside members of the W.E.F.T. program, a textile studio for adults with developmental disabilities run by TWM, broadening discussions around labor, value, ability and access	Class Number 1423	Credits 3	Department Fiber and Material Studies Area of Study Community & Social Engagement, Art/Design and Politics, Sustainable Design Location Sharp 1011
Sculptural Basket Weaving	3037 (001)	Kate Smith	Tues 3:30 PM - 9:15 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.	Class Number 1420	Credits 3	Department Fiber and Material Studies Area of Study Art/Design and Politics Location Sharp 902
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. Processing images and video with code, real-time body tracking and object detection with machine learning will be emphasized. Techniques and concepts are presented through the creative coding library p5.js, and through node-based tools like TouchDesigner. 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.	Class Number 1119	Credits 3	Department Art & Technology / Sound Practices Location MacLean 401
Expanded Line	3039 (001)	Jonas Müller-Ahlheim, Camille Casemier Johnson	Sat 10:00 AM - 4:00 PM In Person
Description This 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 explore performance through drawing as a description, a medium, and a score for an embodied gesture. We use drawing to imagine movement and to move concepts, in which lines can act as tracing and foreseeing. Performances become descriptions and embodied marks 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 an embodied mark making and thinking process. We will look at artists like Francis Alÿs, Lygia Pape, The Gutai Group, Valie Export, Remy Charlip, Amy Sillman, among many other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown, Raven Chacon, Joan Jonas; Artists in conversations such as Paul Chan and Martha Rosler, John Divola and William Camargo, Matthew Goulish and Lin Hixson. We will work through texts like Keeping Score: Notation, Embodiment, and Liveness by Hendrik Folkerts, Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, The Aesthetics of the Performative by Erika Fischer Lichte, Death of the Author by Roland Barthes, and How to Disappear: Notes on Invisibility in a Time of Transparency by Akiko Busch. Working in and with public space as surface, students should expect to blur the lines between traditional and non-traditional drawings and performances. All formats will be approachable, self determined, nothing more or less than walking if you so choose.	Class Number 1522	Credits 3	Department Performance Area of Study Community & Social Engagement, Public Space, Site, Landscape Location 280 Building Rm 012
Expanded Line	3039 (001)	Jonas Müller-Ahlheim, Camille Casemier Johnson	Sat 10:00 AM - 4:00 PM In Person
Description This 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 explore performance through drawing as a description, a medium, and a score for an embodied gesture. We use drawing to imagine movement and to move concepts, in which lines can act as tracing and foreseeing. Performances become descriptions and embodied marks 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 an embodied mark making and thinking process. We will look at artists like Francis Alÿs, Lygia Pape, The Gutai Group, Valie Export, Remy Charlip, Amy Sillman, among many other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown, Raven Chacon, Joan Jonas; Artists in conversations such as Paul Chan and Martha Rosler, John Divola and William Camargo, Matthew Goulish and Lin Hixson. We will work through texts like Keeping Score: Notation, Embodiment, and Liveness by Hendrik Folkerts, Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, The Aesthetics of the Performative by Erika Fischer Lichte, Death of the Author by Roland Barthes, and How to Disappear: Notes on Invisibility in a Time of Transparency by Akiko Busch. Working in and with public space as surface, students should expect to blur the lines between traditional and non-traditional drawings and performances. All formats will be approachable, self determined, nothing more or less than walking if you so choose.	Class Number 1522	Credits 3	Department Performance Area of Study Community & Social Engagement, Public Space, Site, Landscape Location 280 Building Rm 012
Performing Objects	3039 (001)	Julie A. Nagle	Wed 9:00 AM - 3:00 PM In Person
Description Performing Objects is an expansive, interdisciplinary studio course that merges elements of Performance Art, Ritual, Theater, Installation Art, Body Art, Social Practice, and Sculpture. Grounded in object-making, this course invites students to explore the performative potential of their creations through physical interaction and live engagement. We will develop installations that invite audience participation, extend our work beyond the classroom into public spaces, and experiment with new ways to activate objects through performance. Emphasis will be placed on crafting dynamic relationships between performer and audience using material, movement, sound, text, spectacle, scale, and environment.	Class Number 1722	Credits 3	Department Sculpture Area of Study Animation Location 280 Building Rm 127
Nostalgia, Sentimentality, Materiality	3042 (001)	Stephanie Brooks	Thurs 9:00 AM - 3:00 PM In Person
Description In this course students explore the ways in which artists communicate sentimentality and nostalgia in their work. From media (film, photography) to materials (found objects) and processes (collecting, stitching) students examine the complexities of nostalgia and sentimentality through and beyond materiality, and discuss the poetic, political, cultural, social, and psychoanalytic implications of doing so. Using both art and literary sources students study an historical context as well as look at contemporary artists? work. Student critiques and readings are assigned to complement a weekly lecture and discussion topic.	Class Number 2516	Credits 3	Department Sculpture Area of Study Theory, Narrative Location 280 Building Rm 015
Deep Risography	3042 (001)	Conor Stechschulte	Tues 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.	Class Number 1565	Credits 3	Department Printmedia Location 280 Building Rm 220
Lithography: Expanded Practice	3044 (001)	Jess Giffin	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 to a range of printing techniques within the Printmedia Lithography studio area, including multi-color and plate-based lithography with hand-drawn, digital and photo based options for creating images. Examples of lithographs, short readings, and a visit to the AIC Prints and Drawings collection will support project development and discussion. Students can expect to complete three to five projects and participate in two critiques.	Class Number 2477	Credits 3	Department Printmedia Location 280 Building Rm 221
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.	Class Number 1840	Credits 3	Department Visual Communication Design Area of Study Social Media and the Web Location Sharp 1108
Knitworks: Sustainability & Community	3045 (001)	Jennifer Michelle Plumridge	Wed 9:00 AM - 3:00 PM In Person
Description This course teaches students hand and machine knitting with an emphasis on sustainable materials and practices. Themes of waste, re-use, recycling, and the redesign of pliable materials will serve as foundational concepts around which students will center their making. Students will learn hand and machine knitting techniques, how to read and write knit and pattern languages, steeking, unraveling existing knits, rehanging yarn to reclaim fiber, needle felting for knits, crochet, crewel work, and hand-stitching techniques. Historic and contemporary knits will be encountered through visits to SAIC¿s Textile Resource Center and the Art Institute of Chicago¿s Textile collection. Artists presented in relation to public action, community building, and sustainable studio practices include the works of Magda Sayeg, Ernesto Neto, Wells Chandler, Jesse Harrod, and Orly Genger. Class discussions will address texts by Alden Wicker and Rebecca Burgess, and consider local and global community fiber/textiles programs in relation to environmentalism. Assignments include readings, media viewing, discussions, explorations of knit stitches, and midterm and final studio assignments. Students will use existing and alternative raw goods and pliable materials, re-engineering them to create a range of project outcomes including 2-D and 3-D works, installations, performances and public actions.	Class Number 2259	Credits 3	Department Fiber and Material Studies Area of Study Community & Social Engagement, Art/Design and Politics, Sustainable Design Location Sharp 902
Haptic Narratives: Material, Form and Imagination in Alternative Book Art	3046 (001)	Jess Atieno Ounga, Yoonshin Park	Tues 9:00 AM - 3:00 PM In Person
Description This interdisciplinary course examines the book as a form, structurally and conceptually through material exploration. With a focus on how techniques and material exploration influence form and meaning, experimentation and concept development will be prioritized. Students will be introduced to a variety of printmaking and surface treatments on fabric and alternative materials while learning to structure their book forms. The course encourages critical thinking as to how image and text can exist within a tactile, sequential, or sculptural narrative. The course will feature readings, and visits to the Textile Resource Center and Joan Flasch Artist Book Collection. Class readings will include: ¿Books Beyond Boundaries: The Book as Art¿ -Karen L. Estlund and Michael D. Reynolds that showcases contemporary artists¿ innovative approaches to the experimental book form. We will explore the works of : Fluxus Art, Candace Hicks, Louise Bourgeois,Jessica Tang, Victoria Villasana, Faith Ringlold, Lesley Dill, Lenore Tawney, Kiki Smith, and many more. The class will also visit the Joan Flasch Artist Book Collection +Archives and Textile resource Center. Assignments will include creating experimental book forms using non-traditional materials, integrating text and imagery culminating in a final edition of three artist books.	Class Number 2111	Credits 3	Department Fiber and Material Studies Area of Study Public Space, Site, Landscape, Illustration, Books and Publishing Location Sharp 905
Haptic Narratives: Material, Form and Imagination in Alternative Book Art	3046 (001)	Jess Atieno Ounga, Yoonshin Park	Tues 9:00 AM - 3:00 PM In Person
Description This interdisciplinary course examines the book as a form, structurally and conceptually through material exploration. With a focus on how techniques and material exploration influence form and meaning, experimentation and concept development will be prioritized. Students will be introduced to a variety of printmaking and surface treatments on fabric and alternative materials while learning to structure their book forms. The course encourages critical thinking as to how image and text can exist within a tactile, sequential, or sculptural narrative. The course will feature readings, and visits to the Textile Resource Center and Joan Flasch Artist Book Collection. Class readings will include: ¿Books Beyond Boundaries: The Book as Art¿ -Karen L. Estlund and Michael D. Reynolds that showcases contemporary artists¿ innovative approaches to the experimental book form. We will explore the works of : Fluxus Art, Candace Hicks, Louise Bourgeois,Jessica Tang, Victoria Villasana, Faith Ringlold, Lesley Dill, Lenore Tawney, Kiki Smith, and many more. The class will also visit the Joan Flasch Artist Book Collection +Archives and Textile resource Center. Assignments will include creating experimental book forms using non-traditional materials, integrating text and imagery culminating in a final edition of three artist books.	Class Number 2111	Credits 3	Department Fiber and Material Studies Area of Study Public Space, Site, Landscape, Illustration, Books and Publishing Location Sharp 905
Generative Seminar: Writing from the Body	3046 (001)	Ginger Krebs	Tues 12:15 PM - 3:00 PM In Person
Description This class explores the relationship between language and physicality. It is designed equally for performance makers who want to develop their writing, and for writers who want to experiment with liveness. Students will write in class - out of meditative bodies, out of sweaty bodies, out of self-conscious bodies, out of exultant bodies. They will also bring in found and original texts, and work with the body to activate and recontextualize them, to find correlations and contradictions that throw new light on their words. The class aims to invite surprise by disrupting habitual postures and ways of moving and writing. By changing speed, scale, duration and context, the writing process will be strategically interrupted by action, and physical actions will be 'perforated' with opportunities for reflection. Attending to different sites in their bodies will offer students potent portals to memory, and readings that range from phenomenology to disability studies will offer further perspective and inspiration. Class sessions will involve collaborative word games, instruction-based events, experiential anatomy, splicing together live and recorded speech (text to speech, live captioning, latency, and more), and traveling outside of the classroom to explore interactions between bodies and architecture.	Class Number 2450	Credits 3	Department Performance Location MacLean 2M
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).	Class Number 1118	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science, Public Space, Site, Landscape Location MacLean B1-16
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).	Class Number 1284	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Art and Science, Public Space, Site, Landscape Location MacLean B1-16
Drawing Materials & Techniques	3049 (001)	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.	Class Number 1617	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Digital Projects	3049 (001)	Cody Norman	Thurs 3:30 PM - 9:15 PM In Person
Description Digital Projects is an experimental sculpture studio with an emphasis on CNC (computer numerical controlled) milling, routing and surfacing. Students will be introduced to Computer Aided Design (CAD) and Computer Aided Machining (CAM) to produce finished works in a range of materials including wood, foam, wax, aluminum and plastic. Experience with Rhino, Fusion360, Maya, Blender or another CAD package is useful but not necessary. Students will use a range of CNC output options in the Columbus Digital Fabrication Studio, the Materials Lab and elsewhere on and off the SAIC campus. Digital Projects will give students ample time to learn new digital subtractive techniques and experiment with how to integrate them into their own critical and conceptual framework.	Class Number 2106	Credits 3	Department Sculpture Location 280 Building Rm 127A
Painting Materials and Techniques I	3050 (001)	Josh Dihle	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1631	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Participatory Art	3050 (001)	Kamau A. Patton	Tues 12:15 PM - 3:00 PM In Person
Description This course will focus on socially engaged art practices through which participants are encouraged to be directly involved in the creative process. The seminar will explore project planning, strategies of engagement, participatory methodologies and the development of resources designed to facilitate working in collaborative situations with social groups, communities and publics. Participatory art considers approaches to art making which engage publics in generative processes that allow participants to become co-authors as well as observers of the work. At its core, participatory art requires that the artist makes space for co-creation by removing themselves from the work or receding enough so as to become an equal partner and participant in the project. In this seminar we will explore ideas of authorship, authority, agency and interaction as themes central to generative collaborations between artist, audience and environment.	Class Number 1010	Credits 3	Department Visual and Critical Studies Location Lakeview - 1428
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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1632	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1633	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Funny Prints and Multiples	3052 (001)	Oli Watt	Mon 9:00 AM - 3:00 PM In Person
Description In this studio course, students will investigate print and multiple-making through the lens of humor. In addressing forms such as one-liners, cartoons, and comic props, we will work through, with and against the tradition of the ?funny? in relation to printmedia practices. The course includes presentations, readings and discussions that examine puns, the absurd, comic timing, exaggeration, satire, parody, the deadpan and failure.	Class Number 2138	Credits 3	Department Printmedia Location 280 Building Rm 223
Adventures in Self-Publishing	3053 (001)	Conor Stechschulte	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces students to the use of RISOgraph image duplication as a creative, independent publishing tool. Attention will be paid to ways artists' publishing has publishing has been used to bypass traditional cultural and institutional gatekeepers, to foster community, as well as the distribution of independent ideas and content. Studio work will be supplemented with readings, visits to SAIC special collections and class discussion addressing contemporary and modern artists. Studio experimentation and research will be encouraged.	Class Number 1571	Credits 3	Department Printmedia Area of Study Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 220
Figure It Out: Sculpture and Bodies	3056 (001)	Mindy Rose Schwartz	Wed 9:00 AM - 3:00 PM In Person
Description The figure in contemporary art has long been debated, but just as painting never died as forecasted so, too, the figure. It has morphed, become cyber, stayed representational, been found in the world and fashioned of any medium, while dissolving the line between it and abstraction, making it permeable and evocative. In this course students will be challenged to redefine the boundaries of traditional sculptural representation using the figure as a catalyst for evoking a range of content. We will consider human and animal bodies broadly, as cultural, historical, and constantly changing entities. Through an examination of diverse approaches related to figurative sculpture, students will be encouraged to engage with a variety of sculptural processes and media (such as assemblage, mold making, modeling, carving, welding, mixed media, fund object) to configure forms, as well as and conceptual frameworks in order to articulate personal and social narratives, and cultural critiques. Addressing a range of cultures and historical periods, our inquiry will focus on: To what ends has the figure been employed (portraiture, faith, identity, gesture, embodiment, fragment, ritual, allegory, affect)? How does a work refer to without fully representing the figure? Why has it been an enduring subject/form? What are challenges and opportunities does it offer us today? Our inquiry will be guided by readings (Gordon Hall, Elizabeth Grosz, Katarzyna Trzeciak, Elaine Scarry, Sara Ahmed, and others) and viewing/museum visits of such artists as Jaime Isenstein, Franz Xaver Messerschmidt, Simone Fattal, Sarah Peters, Hew Locke, Rachel Harrison, Nicole Eisenman, Anna Mendieta, Yinka Shonibare, Simone Leigh, Kiki Smith, Magdalena Abakanowicz, Wangechi Mutu, Louise Bourgeois, Thomas Houseago, Kimsooja, David Altmejd, Lee Bul and Cajsa von Zeipel. Course work includes assignments, readings and in class activities that support the development of three finished projects for critique. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 1733	Credits 3	Department Sculpture Area of Study Class, Race, Ethnicity, Gender and Sexuality Location 280 Building Rm 015
Moldmaking: Replication and Translation	3057 (001)	Stephen Reber	Thurs 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.	Class Number 1723	Credits 3	Department Sculpture Location 280 Building Rm 030
Deep Surface	3059 (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 upsets distinctions between image and object. Through demonstrations and open-ended assignments, students will learn impasto painting techniques, adhesives, sculptural surface construction, wood relief carving, embedding, and alternative materials. Deep Surface will give students the opportunity to explore juicy facture, heavy-duty mediums, extraction tools, image excavation, and extravagant adornment. We will narrow the gap between painting and sculpture. In support of these efforts, course readings will include Hamza Walker, Annie Albers, and Tatiana Berg. Readings and discussions will compliment slide talks, demonstrations, and critiques. 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. Students will produce artworks using a range of materials and technical processes that bridge the divide between painting and sculpture. A total of at least seven completed paintings are due during the semester. Prerequisites Prerequisite: PTDW 2001.	Class Number 1680	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Metalsmithing: From Alloy to Adornment	3059 (001)	Jakki Cafarelli	Thurs 3:30 PM - 9:15 PM In Person
Description In this course, students will explore the art and craft of working with various soft metals, such as brass, bronze, copper, and silver. The curriculum covers a wide range of techniques such as soldering, forming, and centrifugal casting, enabling students to manipulate and shape metal into intricate forms. Utilizing a combination of hand tools and specialized equipment, students will learn to transform raw metal materials into functional and decorative objects. Emphasis will be placed on artistry and craftsmanship, with students developing their unique designs. This course bridges traditional practices with modern innovations, offering a comprehensive understanding of this ancient yet continually evolving art form. Readings will explore topics of the historic metal eras including the Bronze and Iron Age, The Forge and the Crucible by Mircea Eliade, Metalworking Through History: A Modern Encyclopedia by Ana M. Lopez, Alchemy + Mysticism by Alexander Roob, A History Of Metallography: The Development Of Ideas On The Structure Of Metals Before 1890 by Cyril Stanley Smith, and The Secrets of Metals by Wilhelm Pelikan. Some contemporary metalsmith artists will be studied such as Michele Oka Doner. This class will also include a variety of handouts from the Metal Smith Society to demonstrate specific metal smithing techniques and tools. We will have a midterm critique to review progress and then students should expect to produce a body of work consisting of 3-5 finished pieces during the semester.	Class Number 2107	Credits 3	Department Sculpture Area of Study Costume Design, Product Design, Furniture Design Location 280 Building Rm 028
Art and the Spiritual	3060 (001)	Frank Piatek	Thurs, Thurs 9:00 AM - 3:00 PM, 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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1634	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement Location 280 Building Rm 325, 280 Building Rm 123
Twist and Rout	3060 (001)	Paul Martin	Wed 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.	Class Number 1716	Credits 3	Department Sculpture Area of Study Furniture Design Location 280 Building Rm 023
Technical Studies:Glaze	3061 (001)	Mie Kongo	Fri 9:00 AM - 3:00 PM 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.	Class Number 1169	Credits 3	Department Ceramics Area of Study Art and Science Location 280 Building Rm M153
Metalworks	3063 (001)	Dan Price	Tues 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. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 1730	Credits 3	Department Sculpture Area of Study Digital Fabrication Location 280 Building Rm 127
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. Prerequisites Prerequisite: FVNM 2004 & FVNM 2005 or FVNM 3003 or FVNM 5020	Class Number 1451	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting, Animation Location MacLean 1304
Performing Identities	3070 (001)	Sungjae Lee	Wed 9:00 AM - 3:00 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.	Class Number 2113	Credits 3	Department Performance Location MacLean 2M
Permanence and Ephemerality	3076 (001)	Stephanie Brooks	Fri 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.	Class Number 1732	Credits 3	Department Sculpture Location 280 Building Rm 015
Sculpture: Multi-Level Projects	3085 (001)	Daniel Gordon Baird	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. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 1725	Credits 3	Department Sculpture Location 280 Building Rm 023
Cell Biology	3086 (001)	Anna Edlund	Mon 6:45 PM - 9:30 PM In Person
Description This course in an introduction to the structures and functions of eukaryotic cells. Cells are the un-splittable, elemental ¿atoms¿ of life, and all of them share DNA, RNA, proteins and membranes in common. In this class, lecture and laboratory exercises will be mixed to explore molecular compositions, energy transformations, cell division, and replication and expression of genetic material within cells. Readings will be from the text Campbell Biology: Concepts and Connections, 9th ed. Reece, Taylor et al. (students will not need to buy this textbook). To explore the interplay between personal, societal, historical and scientific perspectives on Cell Biology, several movies will also be viewed and discussed, including 'The Immortal Life of Henrietta Lacks' and 'Three Identical Strangers.' Students will submit journal entries, laboratory notes, as well as answers to frequent review questions. There will be two mid-terms. Students will select a subject of personal meaning related to Cell Biology and will design a public-facing artwork, photomicrograph, infographic, zine, or public service announcent that shares the structures, functions and/or stories of their subject. Prerequisites Prerequisite: First Year English requirement.	Class Number 2374	Credits 3	Department Liberal Arts Location Lakeview - 1503
Cell Biology	3086 (002)	Anna Edlund	Tues 3:30 PM - 6:15 PM In Person
Description This course in an introduction to the structures and functions of eukaryotic cells. Cells are the un-splittable, elemental ¿atoms¿ of life, and all of them share DNA, RNA, proteins and membranes in common. In this class, lecture and laboratory exercises will be mixed to explore molecular compositions, energy transformations, cell division, and replication and expression of genetic material within cells. Readings will be from the text Campbell Biology: Concepts and Connections, 9th ed. Reece, Taylor et al. (students will not need to buy this textbook). To explore the interplay between personal, societal, historical and scientific perspectives on Cell Biology, several movies will also be viewed and discussed, including 'The Immortal Life of Henrietta Lacks' and 'Three Identical Strangers.' Students will submit journal entries, laboratory notes, as well as answers to frequent review questions. There will be two mid-terms. Students will select a subject of personal meaning related to Cell Biology and will design a public-facing artwork, photomicrograph, infographic, zine, or public service announcent that shares the structures, functions and/or stories of their subject. Prerequisites Prerequisite: First Year English requirement.	Class Number 2375	Credits 3	Department Liberal Arts Location Lakeview - 1503
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.	Class Number 1123	Credits 3	Department Art & Technology / Sound Practices Area of Study Politics and Activisms, Art and Science, Collaboration, Sustainable Design Location MacLean 414, Michigan B1-19
Ghost in the Chamber: Surrealism and Photography	3098 (001)	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. Prerequisites Studio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098	Class Number 1493	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location 280 Building Rm 214
Ghost in the Chamber: Surrealism and Photography	3098 (001)	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. Prerequisites Studio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098	Class Number 1493	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location 280 Building Rm 214
Ghost in the Chamber: Surrealism and Photography	3098 (001)	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 culminating 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. Prerequisites Studio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098	Class Number 1548	Credits 3	Department Photography Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location 280 Building Rm 214
Ghost in the Chamber: Surrealism and Photography	3098 (001)	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 culminating 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. Prerequisites Studio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098	Class Number 1548	Credits 3	Department Photography Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location 280 Building Rm 214
Feminist Sonic Memory Practice	3102 (001)	Bonnie Han Jones	Wed 9:00 AM - 3:00 PM In Person
Description What is a feminist sonic memory practice? This studio will explore the intersections of feminist theory, memory, and creative, sonic practices. We will explore the social, cultural, cognitive, political and technological influences on how, what and why individuals, groups and societies remember, and importantly how we forget. How is the creative use of sound and music used to remember and to engage in the production of personal, historical and cultural memories? How might it be used to transform memory and practices of remembering and listening? We will explore rich and complex artistic and research methods to work with archives, memory materials, and feminist theory and practice from an interdisciplinary approach that draws from memory studies, archive theory, experimental and electronic music, soundscape and musique concrete, media studies and cultural theory. We'll examine the work of an eclectic, interdisciplinary group of artists and theorists engaged in sonic and multimedia archival projects including: Matana Roberts, Yvette Janine Jackson, Gascia Ouzonian, Stephanie Syjuco, Marshall Trammell, Tacita Dean, Salome Voegelin, Domietta Torlasco, and Annea Lockwood. Coursework will include weekly readings/listenings/watchings as well as short written or creative sonic responses. The required mid-term and final projects can be individual or collaborative and can take the form of interdisciplinary sound works, or hybrid artistic research approaches like sound essays. Students will be expected to actively engaged in class discussions and be self-guided in their research and individual creative practices, applying concepts to their own projects.	Class Number 2354	Credits 3	Department Art & Technology / Sound Practices Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location MacLean 522
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. Prerequisites Prerequisite: FVNM 3024.	Class Number 1448	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Playwriting/Screenwriting, Social Media and the Web Location MacLean 517
Drawing Machines	3104 (001)	Tom Burtonwood	Tues 9:00 AM - 3:00 PM In Person
Description Drawing Machines is a studio course that introduces the use of mechanical apparatus and digital technology to produce drawings, paintings and sequential images. Course participants will experiment with ways that their creative expression can be produced using rules based systems, chance operations and disembodied practices. These methods of translation will be used as starting places for studio based outcomes using pen plotters, CNC machines and other mechanical devices. Prior experience with digital modes of making is useful but not required. Drawing Machines will explore both historical and contemporary developments in technology that have made it possible for artists, designers and architects to use mechanical devices to express their ideas and produce images. Readings, screenings and examples will engage course participants with a range of critical and theoretical positions towards machine made and systems based forms of production. Artists will include Alberto Aguilar, Arno Beck, Daniel Catt, Sougwen Chung, Andee Collard, fingacode, Licia He, Jean-Pierrre Hébert, Eva Hesse, Carl Lostritto, Jennifer McCoy, Manfred Mohr, Vera Molnár, Wangechi Mutu, Lisa Orth, Casey Reas, Marcelo Soria Rodríguez, Sonia Sheridan, Maksim Surguy, Sol Le Witt, Emily Xie and more. Course participants will produce a body of work drawn from their personal creative interests using analog rules based systems, coded instructions and machine made outcomes.	Class Number 2364	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Imaging, Art and Science Location MacLean 401
Drawing Machines	3104 (001)	Tom Burtonwood	Tues 9:00 AM - 3:00 PM In Person
Description Drawing Machines is a studio course that introduces the use of mechanical apparatus and digital technology to produce drawings, paintings and sequential images. Course participants will experiment with ways that their creative expression can be produced using rules based systems, chance operations and disembodied practices. These methods of translation will be used as starting places for studio based outcomes using pen plotters, CNC machines and other mechanical devices. Prior experience with digital modes of making is useful but not required. Drawing Machines will explore both historical and contemporary developments in technology that have made it possible for artists, designers and architects to use mechanical devices to express their ideas and produce images. Readings, screenings and examples will engage course participants with a range of critical and theoretical positions towards machine made and systems based forms of production. Artists will include Alberto Aguilar, Arno Beck, Daniel Catt, Sougwen Chung, Andee Collard, fingacode, Licia He, Jean-Pierrre Hébert, Eva Hesse, Carl Lostritto, Jennifer McCoy, Manfred Mohr, Vera Molnár, Wangechi Mutu, Lisa Orth, Casey Reas, Marcelo Soria Rodríguez, Sonia Sheridan, Maksim Surguy, Sol Le Witt, Emily Xie and more. Course participants will produce a body of work drawn from their personal creative interests using analog rules based systems, coded instructions and machine made outcomes.	Class Number 2367	Credits 3	Department Painting and Drawing Area of Study Digital Imaging, Art and Science Location MacLean 401
Introduction to 2D Computer Animation	3105 (001)	Pablo Keith Lorenzana	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. Prerequisites FVNM 2420 or 5020	Class Number 1438	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Animation Location MacLean 714
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1483	Credits 3	Department Liberal Arts Location MacLean 301
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.	Class Number 1388	Credits 3	Department Fashion Design Location 280 Building Rm 207
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.	Class Number 1388	Credits 3	Department Fashion Design Location 280 Building Rm 207
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1471	Credits 3	Department Liberal Arts Location Lakeview - 202
Cont Narr: Speaking in Fragments: Literature, Empi	3105 (003)	Tricia Park	Wed 8:30 AM - 11:15 AM In Person
Description This course explores the enduring legacies of colonialism and imperialism and how writers from formerly colonized and diasporic communities use narrative to contest silence, reimagine identity, and reclaim cultural authority. Through fiction, theory, and cross-disciplinary response, we will engage postcolonial and global anglophone texts that fragment linear time, rework canonical forms, and experiment with voice. Blending close reading with artistic inquiry and critical reflection, texts may include works by J.M. Coetzee, Chang-Rae Lee, Cathy Park Hong, Ocean Vuong, and Theresa Hak Kyung Cha, alongside foundational theorists such as Frantz Fanon, Gayatri Spivak, and Edward Said. Prerequisites Prerequisite: First Year English requirement.	Class Number 2478	Credits 3	Department Liberal Arts Location MacLean 617
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1469	Credits 3	Department Liberal Arts Location MacLean 608
Letterpress Bookworks	3111 (001)	Catherine Ruggie-Saunders	Mon 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. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 1834	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
Holography	3111 (001)	Alan Perry	Thurs 3:30 PM - 9:15 PM In Person
Description In this introduction to the theory, tools, and techniques of three-dimensional imaging, students study the structure of light and the ways in which it can convey information, and familiarize themselves with the basic tool of holography, the laser. Students make several different styles of holograms, some viewable in laser light, and some in white light. Techniques involving spatial juxtaposition and montage are also explored. The focus is on developing a working knowledge of the medium from the perspective of its artistic possibilities. Readings will include journal articles that touch on the history, techniques, and aesthetics of holography. Some of the artists we will consider include Sally Weber, Mary Harman, Paula Dawson, and John Kaufman. We will also look at prior student work and discuss holography as an interdisciplinary, installation-based practice in addition to holography as a medium in and of itself. Lastly, we will discuss the unique issues around and strategies for exhibiting holographic works. Over the course of the semester, students should expect to produce a body of work of laser- and/or white-light-viewable holograms over a sequence of assignments that conceptually build off one another, and work collaboratively to produce a digital hologram.	Class Number 1138	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Imaging Location MacLean 414
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. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 1833	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
The Case for the Modern Novel	3112 (001)	Todd S. Hasak-Lowy	Tues 3:30 PM - 6:15 PM In Person
Description In our increasingly visual culture, why bother with the novel at all? How can the novel possibly make sense of our fragmented reality, the incredible complexities of our recent history, and the increasingly dynamic nature of identity itself? This course offers students a chance to read a handful of recent ?major? novels by writers like Zadie Smith, Viet Thanh Nguyen, and Philip Roth that demonstrate the genre?s impressive range and ability to represent the modern world in all its dizzying richness. Prerequisites Prerequisite: First Year English requirement.	Class Number 2249	Credits 3	Department Liberal Arts Location Lakeview - 202
Hybrid Objects	3113 (001)	Andrew Bertholf	Tues, Tues 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.	Class Number 1721	Credits 3	Department Sculpture Location 280 Building Rm 127, 280 Building Rm 127A
Foundry: Industrial Morphologies	3115 (001)	FÁTIMA	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.	Class Number 1718	Credits 3	Department Sculpture Area of Study Product Design Location 280 Building Rm 030
Science Fiction & Fantasy	3116 (001)	Pamela Barrie	Tues 12:15 PM - 3:00 PM In Person
Description More than one science fiction reader has wondered what unicorns have to do with electric sheep, and why they are penned together in the same section of most bookstores. That chimerical label, Science Fiction/Fantasy, tends to break down along the lines of futuristic speculation versus nostalgic escapism, with such writers as Arthur C. Clarke, Philip K. Dick, and William Gibson on the one side, and E. R. Eddison, Mervyn Peake, and J. R. R. Tolkien on the other. Yet even the darkest dystopia projected by science fiction often has mythic elements, and fantasy's supposed escapism has potent critiques of modernity. A few writers, like Ray Bradbury, Ursula LeGuin, and Russell Hoban, have written unclassifiable works, in which myth, technology, religion, and psychology play shifting roles. This course examines the origins, development, and achievements of each genre, and more importantly, the themes and aims that s/f and fantasy may share: the creation of alternate worlds and realities; the exploration of the limits of the human; and the search for meaning in an era of vanished certainties. Prerequisites Prerequisite: First Year English requirement.	Class Number 2150	Credits 3	Department Liberal Arts Location MacLean 301
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. Prerequisites Prerequisite: FVNM 2004 or FVNM 2005 or FVNM 3003 or FVNM 5020	Class Number 1444	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 819
Intermediate Screenwriting	3124 (001)	John Petrakis	Tues 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 Prerequisites Prerequisite: FVNM 3024.	Class Number 1456	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting Location MacLean 518
Doing Democracy	3125 (001)	Sarah Ross	Thurs 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. Prerequisites Prerequisite: Open to junior BFAAE students only or permission of instructor.	Class Number 1866	Credits 3	Department Art Education Area of Study Community & Social Engagement, Teaching, Art/Design and Politics Location Sharp 409
Doing Democracy	3125 (002)	Catalina Hernández-Cabal	Tues 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. Prerequisites Prerequisite: Open to junior BFAAE students only or permission of instructor.	Class Number 1872	Credits 3	Department Art Education Area of Study Community & Social Engagement, Teaching, Art/Design and Politics Location Sharp 402
Package Design	3131 (001)	Jacob Ristau	Thurs 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. Prerequisites Prerequisite: VISCOM 2001 and VISCOM 2011.	Class Number 1835	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Product Design Location Sharp 1116
Mod: Arthur Rimbaud	3132 (001)	Patrick Durgin	Fri 8:30 AM - 11:15 AM In Person
Description Poet of 'logical revolts,' of sexual freedom, inveterate modernist, Symbolist, and inspiration to beatniks, conceptual artists and punks, Arthur Rimbaud wrote some of the most enduring poems of world literature. His career lasted all of five years, between 1870-1875. This course immerses you in his poetry in verse and in prose, exposes you to some of the criticism surrounding his work, and examines how the figure of Rimbaud has been appropriated by late twentieth century visual and musical artists, particularly Patti Smith and David Wojnarowicz. Texts will include A Season in Hell, 'Letters from a Seer,' 'Drunken Boat,' and Kristin Ross's classic literary-critical study The Emergence of Social Space. Students will read daily, respond with short written responses and a final essay, as well as contribute to daily, vigorous, analytical class discussions. Prerequisites Prerequisite: First Year English requirement.	Class Number 2463	Credits 3	Department Liberal Arts Location Lakeview - 205
Adv Wksp: Cabinet of Curiousities	3140 (001)	Mark Booth	Thurs 8:30 AM - 11:15 AM In Person
Description The inspiration for the course is the Wunderkammer (Cabinet of Wonder), or cabinet of curiosities, prevalent in 16th and 17th Century Europe. These `cabinets¿ were encyclopedic collections of objects kept by rulers, aristocrats, and early practitioners of science. In this prompt-driven workshop we will create our own cabinet of wonders, not a collection of physical objects but a collection of writing, arising from images, ideas, writing prompts, constraints, noises, observations, and other stimuli. The class meetings will be our `studio¿ and the bulk of the writing for the course will be completed during class sessions. We will approach writing as a collective exercise, taking the position that writing together, during a specific period of time (the class session) is a powerful and transformative act. The instructor and the students will provide the `curiosities,¿ and weekly homework will involve the creation of time-based prompts and constraints to be used in the classroom. In class writing exercises will be read aloud in their virgin state and edited pieces may be workshopped at the discretion of the student. This course is open to writers of all disciplines as well as studio artists interested in writing as a spontaneous practice.	Class Number 1877	Credits 3	Department Writing Location Lakeview - 803
Adv Wksp: The Inner Outer Story	3140 (002)	Todd S. Hasak-Lowy	Mon 12:15 PM - 3:00 PM In Person
Description This course departs from a straightforward but far-reaching two-part claim about fiction: 1) Just about all successful works of fiction narrate an external story (actions out in the world) as well as an internal story (the psychological drama of the protagonist). 2) These two parts of the narrative are interwoven and in dialogue with each other. In the first part of the semester, we will combine close readings of (mostly contemporary) short fictions (by Lydia Davis, Leo Tolstoy, Jhumpa Lahiri, George Saunders, Charles Yu, among others) with a series of exercises that seek to isolate various features of this inner-outer story. These readings and exercises will give students a deeper understanding of how this dynamic operates at every level of the text, from a given sentence to the plot as a whole. The rest of the semester will be devoted to workshops, where students will share their attempts to create short fictions that satisfy the demands of this narrative double-helix. In addition to two stories written for workshops, students will submit a scene analysis and overall plot chart for two published works of fiction.	Class Number 1880	Credits 3	Department Writing Location Lakeview - 803
Adv Writ:The Poet-Critic	3140 (003)	Peter O'Leary	Thurs 3:30 PM - 6:15 PM In Person
Description 'No poet, no artist of any art, has his complete meaning alone.' (T.S. Eliot.) 'Wayward Puritan. Charged with enthusiasm. Enthusiasm is antinomian.' (Susan Howe.) Poets relate to literature in the way they delve into its historical matter and context. Just so, they transform the art by disobeying its widely-held presumptions. In this workshop, we will study the works of five seminal poet-critics-Ezra Pound, T.S.Eliot, Charles Olson, Susan Howe, and Nathaniel Mackey-in an effort to bring reading and writing (about these poets and about your own work as well) into a mutually elucidating act. We will be especially interested in how these poets relate to each other's work, with special attention paid to correspondence. To that end, your work in this course will be undertaken on a manual typewriter in the form of letters exchanged with your classmates.	Class Number 2236	Credits 3	Department Writing Location Lakeview - 808
Mysticism in/around/under Mathematics	3152 (001)	Luna Jaskowiak	Wed 6:45 PM - 9:30 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1704	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 620
Mysticism in/around/under Mathematics	3152 (002)	Luna Jaskowiak	Thurs 6:45 PM - 9:30 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2494	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 112
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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1049	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Playwriting/Screenwriting, Community & Social Engagement Location MacLean 1307
Furniture 2: Prototyping for Furniture	3155 (001)	Zachary Manuel	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. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1282	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Furniture Design Location Sullivan Center 1242
Top: Three Apocalypses	3159 (001)	Peter O'Leary	Fri 8:30 AM - 11:15 AM 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? Prerequisites Prerequisite: First Year English requirement.	Class Number 2502	Credits 3	Department Liberal Arts Location MacLean 301
Eur Lit:Race and Gender in British Literature	3160 (001)	Eileen Favorite	Wed 8:30 AM - 11:15 AM In Person
Description In this course, we'll look at classic bildungsroman through the lens of class, gender, and race. Beginning with Jane Eyre (1847) by Charlotte Bronte, we'll examine how nascent ideas about feminism are expressed in the highly patriarchal, aristocratic England of the 1830s. Next, we'll read The Wide Sargasso Sea (1966) by Jean Rhys, a 'prequel' to Jane Eyre, which depicts the impact of Emancipation on Jamaica's formerly enslaved population and their former enslavers, with an emphasis on mental health, cultural oppression, and power. Finally, we'll read Annie John (1985) by Jamaica Kincaid, which depicts a young girl coming of age in colonial Antigua as well as the clash of British education and values with Caribbean island beliefs. All three books engage with issues of mental well-being, women's rights, and hierarchies that dispossess girls and women of their power, whether through medicine, religion, or educational institutions. Some of these heroines triumph, others fail, but all the works illuminate how cultural climate and history impact the everyday lives of young women coming of age. Prerequisites Prerequisite: First Year English requirement.	Class Number 2247	Credits 3	Department Liberal Arts Location Lakeview - 203
Hybrid Ecologies	3163 (001)	Brett Ian Balogh	Thurs 9:00 AM - 3:00 PM In Person
Description How do organisms, environments, and technologies communicate with one another? This hybrid studio invites students to explore unconventional channels of interaction¿across human, non-human, and technological systems¿through hands-on experiments in art and science. Students will learn methods for growing and caring for organisms such as plants, fungi, and slime molds, and pair them with electronic interfaces to create surprising collaborations: mushrooms generating sound, houseplants controlling machines, or slime molds participating in digital processes. Along the way, students will gain skills in coding, electronics, and robotics, while considering the ecological and cultural contexts of interspecies communication. Course projects culminate in a final work shaped by each student¿s own practice. No prior experience is required¿only curiosity, imagination, and a willingness to experiment.	Class Number 1125	Credits 3	Department Art & Technology / Sound Practices Area of Study Art/Design and Politics, Art and Science Location Michigan B1-19
Advanced Neon	3164 (001)	Gregory Mowery	Wed 9:00 AM - 3:00 PM In Person
Description Advanced Neon expands the possibilities of light as an artistic medium, guiding students from foundational bending techniques into projects that merge craft, technology, and conceptual exploration. Students will experiment with animation, CAD-based design, phosphor coating, Arduino-driven systems, and professional-standard installation and assembly methods, including alternatives using modern tools such as 3D printing. Readings and demos will draw from both technical sources as well as the work of artists who have extended neon into sculpture, performance, and cultural critique. By the end of the course, students will have designed and produced an exhibition-ready neon work grounded in both technical skill and conceptual perspective. Note: Students not meeting the pre-requisite may contact the instructor to seek permission to join the class. Prerequisites Pre: ATSP 2112	Class Number 1122	Credits 3	Department Art & Technology / Sound Practices Area of Study Graphic Design, Animation Location MacLean B1-16
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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1070	Credits 3	Department Art History, Theory, and Criticism Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Online
LH: Global Modernism	3190 (001)	Zachary Tavlin	Thurs 3:30 PM - 6:15 PM In Person
Description Mastering a body of literature in the context of its specific historical, sociological, and ideological period is emphasized. The period and works vary. Prerequisites Prerequisite: First Year English requirement.	Class Number 1484	Credits 3	Department Liberal Arts Location MacLean 608
LH:Nonviolence: Theory and Practice	3190 (002)	Todd S. Hasak-Lowy	Tues 12:15 PM - 3:00 PM In Person
Description This course offers an introduction to the theory and practice of nonviolence. Students will study nonviolence as a philosophy of social and political change, in large part by reading the writings of important nonviolent theorists and activists, including Mohandas Gandhi, Martin Luther King, Jr., and Vaclav Havel. We will also explore the history of specific nonviolent movements, in which this theory has been applied and tested, with special focus on the American Civil Rights Movement of the 1950s and 1960s. In their own project, students will investigate the potential and limits of nonviolent change by researching other nonviolent movements in order to answer questions that arise during our study of this rich, complex topic. Prerequisites Prerequisite: First Year English requirement.	Class Number 2145	Credits 3	Department Liberal Arts Location Lakeview - 202
LH: Literature of Estrangement	3190 (003)	Irina Ruvinsky	Wed 8:30 AM - 11:15 AM In Person
Description This course explores the theme of estrangement in literature, examining how characters, narrators, and societies experience alienation, dislocation, and otherness. We will analyze texts that depict estrangement through social, racial and philosophical lenses, considering how literary form and narrative structure contribute to feelings of displacement. Through close reading, discussion, and critical writing, students will engage with questions such as: How do literary techniques heighten feelings of estrangement? In what ways does estrangement function as a political or existential condition? And how does literature both reflect and resist social alienation? Readings will include theoretical works such as Mikhail Bakhtin¿s The Dialogic Imagination, which introduces concepts of heteroglossia and the carnival as spaces of subversion, and Ralph Ellison¿s Invisible Man, a novel that powerfully illustrates racial and existential alienation in 20th-century America. Additional readings may include works by Franz Kafka, Samuel Beckett, and Toni Morrison, among others. Prerequisites Prerequisite: First Year English requirement.	Class Number 2357	Credits 3	Department Liberal Arts Location MacLean 816
LH:Marxism, Art, and Culture	3190 (004)	Zachary Tavlin	Fri 12:15 PM - 3:00 PM In Person
Description Marxism isn't just about the 'real world' critique of capitalism and the potential rise of communism. Many thinkers and critics who have written in the wake of Karl Marx have tried to articulate what it means (and why it's important) to read like a Marxist, to understand literature, art, and all the rest of human culture as a historical expression of the human condition under capital. This course serves as an introduction to Marxism and Marxist aesthetics, literary criticism, and cultural critique. We will begin by reading Marx and Engels, and then spend most of the semester considering core concepts as they develop over the subsequent century and a half of Marxist art, literary, and cultural criticism. We will ask questions like: what is the relationship between narrative representation, socio-political life, and its underlying economic forces? Do artworks produce autonomous worlds and meanings or are they entirely shaped by capitalism and class society? How do artifacts like novels, poems, theatrical texts, films, or visual artworks theorize history and society? What do the rise of specific forms, genres, and popular cultural practices tell us about social history? To what extent is it useful to read like/as a Marxist (and are there limitations in doing so)? Prerequisites Prerequisite: First Year English requirement.	Class Number 2487	Credits 3	Department Liberal Arts Location MacLean 111
LH: Interpreting Kitsch, Camp, and `Bling¿ Aesthet	3190 (005)	Romi N Crawford	Thurs 12:15 PM - 3:00 PM In Person
Description This course explores notions of kitsch, camp, and `bling¿ and considers the aesthetic as well as the ideological significance of these concepts. Students will be introduced to a variety of texts, including literature by Christopher Isherwood and Oscar Wilde; films, by Douglas Sirk and John Waters; art; and theory, including texts by Susan Sontag and Walter Benjamin, all of which will help to construct a coherent set of meanings around these concepts. Central to this inquiry is the relation of these concepts to matters of race, ethnicity, class, gender, sexuality, and new medias. Prerequisites Prerequisite: First Year English requirement.	Class Number 2503	Credits 3	Department Liberal Arts Location MacLean 111
Top: Environmental Justice in Literature & Film	3192 (001)	Jane Robbins Mize	Mon 12:15 PM - 3:00 PM In Person
Description In this course, we will examine how a variety of media¿from bestselling books to experimental films¿have represented and contributed to environmental justice movements. From Silent Spring to Standing Rock, we will engage with texts and films that use subversive storytelling to resist environmental degradation and confront the climate crisis. Our syllabus will focus on Black- and Brown-led movements in North America while also interrogating the meaning and scope of environmental justice worldwide. Throughout the semester, students will also have the opportunity to create small- and large-scale publications that communicate with and about environmental justice movements¿from zines to Tik Toks to protest banners. Ultimately, through our readings, screenings, discussions, and assignments, we will think through the social, ethical, and political implications of making media about the environmental crisis.	Class Number 1501	Credits 3	Department Liberal Arts Area of Study Economic Inequality & Class, Community & Social Engagement, Sustainable Design Location Lakeview - 1608
Comics of the Fantastic	3201 (001)	Anya Pauline Davidson	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. Prerequisites Pre: PTDW 2002 or Grad Student	Class Number 2509	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Books and Publishing, Narrative Location 280 Building Rm 306
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.' Prerequisites Prerequisite: First Year English requirement.	Class Number 1691	Credits 3	Department Liberal Arts Location Lakeview - 1503
Green Physics	3206 (001)	Elizabeth Freeland	Thurs 12:15 PM - 3:00 PM In Person
Description The mitigation of and adaptation to the challenges of today's world relies heavily on our scientific understanding of nature and the universe we live in. In this course, we will look at specific areas of physics - energy, radiation, fluid, thermodynamics - and investigate how they relate to our changing planet. We will look at energy production such as solar, geothermal, wind, nuclear; the physics of extreme weather, for example hurricanes and fires; and tipping points or positive-feedback loops. We will also investigate how understanding the natural world can gives us ways to work with it, e.g. passive solar systems, broad levees, mitigation of urban heat islands. Not all topics will be covered in each class, as flexibility will be allowed for student interest and current events. The course includes regular homework covering factual information, readings for discussion, some hands-on work, and a short research project. Prerequisites Prerequisite: First Year English requirement.	Class Number 2161	Credits 3	Department Liberal Arts Location Lakeview - 1503
Letterpress Broadside Editions	3211 (001)	Martha Chiplis	Tues 9:00 AM - 3:00 PM In Person
Description The poster (broadside) has a rich heritage in culture, design, and art. Some of the forms that will be explored in this course are political and social justice posters, advertising window cards, public notices, music posters, magician's joke cards, and the work of contemporary letterpress printers. Students will be exposed to the history, layout structures, and graphic vocabularies of the poster format via lectures, handouts, video documentaries, and visits to local collections such as the Newberry Library. Through instructor demonstrations and student practice in the well-equipped SAIC letterpress studio, students will explore the relationship between form and content in design, become familiar with the names and parts of type, learn how to set type correctly, how to print well, and more. Students will develop their own contemporary interpretations of the poster form by writing, designing, revising, and printing broadsides via letterpress. A convergence of old and new technologies - wood and metal type, relief matrices, and the reproductive capabilities of digitally-based photopolymer - will be used.	Class Number 1843	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
Western Music: 19th Century	3211 (001)	Katarzyna Grochowska	Thurs 6:45 PM - 9:30 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2472	Credits 3	Department Liberal Arts Location MacLean 617
Search for Life in Universe	3211 (001)	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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1696	Credits 3	Department Liberal Arts Location MacLean 816
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1485	Credits 3	Department Liberal Arts Location Lakeview - 202
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1477	Credits 3	Department Liberal Arts Location Online
Motion Graphics and Visual Effects	3215 (001)	Odette Stout	Fri 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. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1459	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Animation Location MacLean 917
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1494	Credits 3	Department Liberal Arts Location MacLean 617
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). Prerequisites Prerequisite: First Year English requirement.	Class Number 1476	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Gender and Sexuality Location MacLean 617
Advanced 2-D Computer Animation	3216 (001)	Pablo Keith Lorenzana	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. Prerequisites Prerequisite: FVNM 3105 or permission of instructor.	Class Number 1462	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation Location MacLean 714
Experimental Technology Lab for 3D Animation	3218 (001)	Alan Kwan	Wed 9:00 AM - 3:00 PM In Person
Description This course explores new ways of capturing, rendering, and directing for 3D animation production enabled by emerging technologies. Students will primarily work with the game engine ¿Unreal¿ and learn to use a range of techniques to capture, process, and render environments, objects, and people. These techniques include camera tracking, gaussian splatting, motion capture, and photogrammetry. We will cover the technical foundation and experimental workflows of these technologies and explore how they can inspire new forms of aesthetics for computer-generated moving images, hybrid forms of cinematography, and novel ways of working with actors and performers for 3D animation production. We will watch different forms of moving image works that explore the poetic potentials of emerging technologies. These works include experimental animations, music videos, installations, and video games. We will look at the creative use of technologies in these productions, learn about the practical production scenarios, and discuss the relationships between the technologies, directing, and cinematic languages. Some of the artists and directors we will discuss include Harun Farocki, Antoine Chapon, Hayoun Kwon, Deniz Tortum, and Claire Hentschker. Students should expect to produce a mid-term project and a final project. They are encouraged to embrace a DIY spirit to develop artistic and technical concepts that challenge conventional ideas in 3D animation and moving image productions. Prerequisites Prerequisite: FVNM 2015 or FVNM 5020 or FVNM 5025	Class Number 2387	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Animation Location MacLean 519
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. Prerequisites Must take 2 3000 FVNM or SOUND classes	Class Number 1457	Credits 3	Department Film, Video, New Media, and Animation Area of Study Collaboration, Narrative Location MacLean 1304
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1695	Credits 3	Department Liberal Arts Area of Study Art and Science Location Lakeview - 1503
Top: Sights and Sounds of Eastern Europe	3252 (001)	Katarzyna Grochowska	Thurs 3:30 PM - 6:15 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1473	Credits 3	Department Liberal Arts Location MacLean 617
Top: Resounding Asian America	3252 (002)	Oliver Shao	Tues 12:15 PM - 3:00 PM In Person
Description Selected issues in music and related areas are studied. Topics vary each semester and may include (but are not limited to): musical structure and form, aural literacy, opera studies, music and words, music and the visual arts, history of recorded music, history of the oral tradition, semiotics, communications theory, and others. Prerequisites Prerequisite: First Year English requirement.	Class Number 1495	Credits 3	Department Liberal Arts Location MacLean 617
Music, War, and Peace	3253 (001)	Oliver Shao	Thurs 12:15 PM - 3:00 PM In Person
Description This course examines the multifaceted ways music is interwoven with social processes of war and peace. In what ways do people use musical sounds to control, torture, and kill individuals and populations? What types of concepts elucidate the ways music reproduces oft-hidden forms of violence? How can music heal trauma and resolve conflict? Throughout this course, we will work towards developing a deeper understanding about the ways music is used to support, oppose, and heal from actions and consequences made in the name of war and peace. Through studying films, texts, and audio recordings, students are expected to think critically and write persuasively about the diverse ways musicians, politicians, military personnel, and civilians use music in wartime contexts. While case studies will vary, we will pay particular attention to the role of Western popular music in the United States-led wars in Iraq and Afghanistan. A broader goal of this course is to analyze music in ways that generate critical responses to the permeation of violence throughout society and everyday life. Coursework will include reading responses, short writing assignments, a mid-term, and a final project. Prerequisites Prerequisite: First Year English requirement.	Class Number 2377	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Public Space, Site, Landscape, Art/Design and Politics Location MacLean 617
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1475	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Online
Advanced Virtual Flat to Form: Digital Patternmaking, Grading, Marker Making, and 3D Rendering	3260 (001)	Aubrie J. Meyer	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 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. Prerequisites Virtual Flat to Form	Class Number 2252	Credits 3	Department Fashion Design Area of Study Costume Design, Product Design, Sustainable Design Location Sullivan Center 706, MacLean 917
Designer-Citizen	3292 (001)	Michele Y Washington	Mon 9:00 AM - 3:00 PM In Person
Description Critical pedagogy seeks to transform consciousness, to provide students with ways of knowing that enable them to know themselves better and live in the world more fully. In this course, we are committed to making a difference. We explore how design can be used to develop real-world projects that address issues rooted in social impact. Our classroom operates as an exploratory lab immersed in liberatory practices and participatory design techniques to craft solutions grounded in the principles of equity, empowerment, dignity, and justice. Projects are centered around collaborative community engagement from critiques, discussions, you will be challenged to create projects that interrogate art, design, and digital spaces, fostering inclusivity, and empowering communities. Challenging you to reimagine community engagement, asking, 'What If.' By the end of the course, you will have developed projects that embody the principles of social impact design. More importantly, advancing your understanding of liberatory and participatory practices, empowering you to make real-world differences as artists, designers, and changemakers.	Class Number 1845	Credits 3	Department Visual Communication Design Area of Study Economic Inequality & Class, Graphic Design, Art/Design and Politics Location Sharp 1217
Top:Sounding Bodies	3300 (001)	Whitney D. Johnson	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1751	Credits 3	Department Liberal Arts Location Lakeview - 203
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1480	Credits 3	Department Liberal Arts Location MacLean 301
Top:Critical Game Studies: Gaming the Systems	3300 (002)	Omie Hsu	Mon 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1745	Credits 3	Department Liberal Arts Location Lakeview - 205
Top:Environmental Justice	3300 (003)	Alex Williams	Thurs, Thurs 3:30 PM - 6:15 PM, 3:30 PM - 6:15 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1746	Credits 3	Department Liberal Arts Location Lakeview - 1608, Homan 1200
Top: Afro-Asian Century	3300 (005)	Patrick Lynn Rivers	Wed 6:45 PM - 9:30 PM In Person
Description Topics in Interdisciplinary Social Sciences are topical courses that involve dialog between various social science disciplines including anthropology, geography, economics, history, political science, psychology, sociology, and beyond. Emphasis is placed on ruptures and cross-fertilizations among the various academic disciplines. Prerequisites Prerequisite: First Year English requirement.	Class Number 2245	Credits 3	Department Liberal Arts Location Lakeview - 205
Top: Global Social Movements	3300 (006)	Asha Sawhney	Fri 12:15 PM - 3:00 PM In Person
Description Since the 2010s, social and political upheavals ranging from anti-globalization campaigns, Occupy Movements, Black Lives Matter, Arab uprisings, feminist movements, and anti-corruption movements have become a daily part of social media engagement and viewing. This course will ask why people rebel when they do. What are the institutions that social movements rise up against? Why do non-elites choose uprising in place of ¿ordinary¿ political engagement? Why do some succeed and others fail? Prerequisites Prerequisite: First Year English requirement.	Class Number 2361	Credits 3	Department Liberal Arts Location MacLean 301
Latinxs Studies	3301 (001)	Deanna Ledezma	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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1755	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Gender and Sexuality Location MacLean 620
Environmental Disasters	3302 (001)	Jackson Watkins	Thurs 3:30 PM - 6:15 PM In Person
Description Scientists now know that global warming is causing more hurricanes? or is it? This course will explore how environmental disasters ? both man-made and natural ? impact human society and the biosphere, and how they have changed in both frequency and intensity in response to climate change. Some relevant topics that this class will investigate include: heat waves and cold snaps, links between climate change and vectorborne diseases, tropical cyclones, tornadoes and severe thunderstorms, environmental impacts of natural gas fracking and oil spills, El Ni?o, long and short-term species extinction, ecosystem responses to climate change, and more. We will consider current news articles and relevant policy solutions/responses, and class work will involve group work, critical thinking, quantitative practice and analysis of scientific literature. Course work will include quantitative in-class assignments, relevant scientific readings, qualitative homework, quizzes, an exam and a final project.	Class Number 2476	Credits 3	Department Liberal Arts Area of Study Art and Science Location Lakeview - 202
Type Design and Lettering	3311 (002)	Mary Krysinski	Wed 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. Prerequisites Prerequisite: VISCOM 2011 or a Graduate Student	Class Number 2482	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1116
Water:The Science of a Human Right	3312 (001)	Michele Hoffman	Wed 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1684	Credits 3	Department Liberal Arts Location MacLean 920
Existentialism	3320 (001)	David B. Johnson	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1470	Credits 3	Department Liberal Arts Location MacLean 920
Top: Animal Ethics	3330 (002)	Alex Sarappo	Fri 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1491	Credits 3	Department Liberal Arts Location MacLean 920
Top:Philosophy of Love	3330 (003)	Irina Ruvinsky	Mon 8:30 AM - 11:15 AM In Person
Description This course examines the role of love and relationality in human life. A basic, innate longing for association drives us in our various endeavors, and relationships permeate every aspect of human becoming. When we examine our love relationships we find trust, mutual reliance, reciprocity, and care, but also a tangle of strife, misunderstanding, angst, and longing for connection. We explore the nature of love through works of philosophy, literature and film. We investigate the distinction between eros, philia, and agape, and discuss ideas of love as a feeling, an action, or a species of ?knowing someone.? We evaluate several philosophical theories of romantic love, and question the tension between the individual?s desire for self-discovery and her responsibility towards others. We address the concept of love from the Platonic, Kantian, and existentialist perspectives. We also read work by Kierkegaard, Dostoyevsky, Nietzsche and De Beuvoir. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1482	Credits 3	Department Liberal Arts Location Lakeview - 203
Top: Lies, Damned Lies, and Statistics: Issues in	3330 (004)	Burkay Ozturk	Wed 12:15 PM - 3:00 PM In Person
Description Today western societies put science on a pedestal. As a result, science informs anything and everything from city planning to whether you should put soy or oat milk in your latte. Does science deserve this reputation? If it does, what is the thing that makes science so special and authoritative? Or should we be worried about the domination of culture by science? In this course, we will study those questions with an eye on high-profile cases of scientific fraud and types of statistical manipulation known as 'p-hacking.' The reading list includes articles and book chapters by Paul Feyerabend, Alan Chalmers, Karl Popper, Imre Lakatos, Thomas Kuhn, Larry Laudan, David Goodstein, Jerry Fodor, Aubrey Clayton, Jacob Cohen, David Lykken, John Ioannidis and Richard Smith. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1496	Credits 3	Department Liberal Arts Location MacLean 608
Top: Philosophical Ideas of Fr	3330 (005)	Eskil J Elling	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2147	Credits 3	Department Liberal Arts Location MacLean 608
Top:Feminist Political Philosophy	3330 (007)	Emily Dupree	Mon 12:15 PM - 3:00 PM In Person
Description Feminist political philosophy has a two-fold history:both as a persistent critique of canonical political philosophy, and as generative of new models of justice. This course explores the two sides of this twofold history. We begin with a survey of feminist criticisms of the canon, including from liberal, Black, and Marxist feminist philosophies. We then turn to the positive accounts from these philosophies, asking whether new models of the state, of the person, and of gender are required to construct theories that adequately represent what justice requires in a world with gender-based oppression. Philosophers we will read include Mary Wollstonecraft, John Rawls, Martha Nussbaum, Susan Okin, Alison Jaggar, Christine Delphy, Audre Lorde, Nancy Fraser, and María Lugones. Prerequisites Prerequisite: First Year English requirement.	Class Number 2469	Credits 3	Department Liberal Arts Location MacLean 707
Top: Environmental Philosophy: The Human Place in	3330 (008)	Eskil J Elling	Tues 12:15 PM - 3:00 PM In Person
Description This course explores how we should understand the relationship between human beings and their natural environment. Our focus will be on conceptions of nature originating in Europe, but along the way we will challenge those conceptions in light of others, especially from Indigenous thought. Our survey will be rooted in philosophical understandings of nature but draw on resources in biology, sociology, political science, and history. We start by considering two opposed models of nature as it has been understood in Western philosophy: rationalism and romanticism. We contrast them with emphasis on care for nature in Indigenous thought. Then, we explore various themes that latch onto these three models: the impact of humanity on nature and the idea of the Anthropocene; visions of nature beyond human control, such as deep ecology; and a variety of ideas for how to remedy our relationship with nature. Thinkers we will read include Karoline von Günderrode, Jason W. Moore, Arne Næss, Donna Haraway, Jane Bennett, Andreas Malm, Hartmut Rosa, and Robin Wall Kimmerer. Prerequisites Prerequisite: First Year English requirement.	Class Number 2479	Credits 3	Department Liberal Arts Location MacLean 608
Earth's Changing Climate	3340 (001)	Andrew H. Scarpelli	Tues 8:30 AM - 11:15 AM In Person
Description This course introduces you to the wonder that is the Earth system! Understanding the earth system involves viewing the atmosphere, hydrosphere (water), biosphere (plants), and geosphere (rocks) as interacting reservoirs of a complex system. In this class we will study the origin and history of the Earth and examine how the concepts of systems, cycles, and feedbacks apply to processes that involve water and ice, the dynamics of life, weather and global climate change. This class will give you a solid scientific basis for understanding the Earth as a system, appreciating the fragility of the environment, and confronting the complexity of climate change and global warming. We will consider current news articles, and policy solutions. Class work will involve group work, quantitative practice and critical reflection on Earth processes. Prerequisites Prerequisite: First Year English requirement.	Class Number 1708	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location MacLean 620
Top: Origin and Evolution of the Solar System	3350 (001)	Maria Valdes	Fri 12:15 PM - 3:00 PM In Person
Description About 9 billion years after the Big Bang, our Solar System's sun ignited from the gravitational collapse of a molecular cloud. This course explores the 4.6 billion years of subsequent chemical evolution of the Solar System. Our tool of study, cosmochemistry, lies at the crossroads of chemistry, physics, geology, astronomy, and biology. As such, we can use it to help us answer some fundamental questions, including: What are the elemental and molecular building blocks of our Solar System? Under what conditions, and by which processes, did these building blocks assemble into planets, asteroids, moons, comets, meteorites, and interstellar dust? What is the Earth made of, how did it evolve over time, and why do we need to study extraterrestrial materials to understand our home planet? Where did water come from and what led to the rise of life on Earth? How can we use this knowledge to guide future space exploration? Formerly called: The Universe (SCIENCE 3212) - students cannot receive credit for this course if they have already received credit for The Universe (SCIENCE 3212) Prerequisites Prerequisite: First Year English requirement.	Class Number 1710	Credits 3	Department Liberal Arts Location Lakeview - 205
Top: Apollo to Artemis, The Science and Exploratio	3350 (002)	Maria Valdes	Tues 8:30 AM - 11:15 AM In Person
Description This course on the Geochemistry and Exploration of the Moon focuses on the geological and geochemical evolution of the Moon, with particular attention to the samples returned by the Apollo missions and their role in shaping our understanding of lunar history. Students will explore the composition of lunar rocks, soils, and regolith, examining key features such as isotopic compositions, mineralogy, and the processes that formed the Moon¿s surface. The course will delve into the methods used to analyze these samples, including spectroscopy, mass spectrometry, and electron microscopy, while also considering the implications of recent findings from the Artemis missions. We will discuss how lunar geochemistry informs our understanding of planetary formation and the broader processes of the solar system. In addition to the scientific content, the course will explore how lunar materials have inspired artistic interpretations of space. By the end of the course, students will gain a comprehensive understanding of lunar geology and geochemistry, and the ongoing exploration of the Moon. This course will incorporate a variety of texts and media, including scanned readings from textbooks, scientific journal publications, documentaries, interviews, mission transcripts, meteorite samples, and NASA data archives. The coursework will consist of weekly homework assignments, two lab exercises, a midterm exam, and a final art project that encourages students to synthesize scientific concepts with creative expression. Prerequisites Prerequisite: First Year English requirement.	Class Number 2385	Credits 3	Department Liberal Arts Location Lakeview - 203
Top: Mineralogy and Gemology	3350 (003)	Maria Valdes	Mon 8:30 AM - 11:15 AM In Person
Description This course on Mineralogy and Gemology provides a detailed scientific exploration of minerals, their structures, properties, and classification, with a particular emphasis on their geological processes. Students will study the chemical composition, crystallography, and physical characteristics of minerals, learning how to identify and classify them in the lab. The course will cover the processes of mineral formation, the environments in which they occur, and the tools and techniques used for their analysis. A portion of the course will also focus on the properties of gemstones, such as color, clarity, and hardness, and the geological conditions that create these precious materials. Throughout, students will learn to apply scientific principles to the study of minerals, while also considering the cultural significance and aesthetic appeal of gemstones. By the end of the course, students will have a comprehensive understanding of mineralogy and the role of gemstones in both science and art, gaining hands-on experience with mineral identification and analysis. This course will incorporate a variety of texts and media, including scanned readings from textbooks, scientific journal publications, museum collection catalogs, high-resolution mineral imaging, and documentary films on mineral formation and gemstone trade. The coursework will consist of weekly microscopy-based lab exercises, 3-5 homework assignments, a midterm exam, and a final art project that encourages students to creatively engage with the scientific and cultural aspects of minerals and gemstones. Prerequisites Prerequisite: First Year English requirement.	Class Number 2378	Credits 3	Department Liberal Arts Location Lakeview - 1503
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.	Class Number 1687	Credits 3	Department Liberal Arts Area of Study Product Design, Art and Science, Sustainable Design Location Lakeview - 1503
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. Prerequisites FVNM 2420 or 5020	Class Number 1432	Credits 3	Department Film, Video, New Media, and Animation Area of Study Costume Design, Animation Location MacLean 1408
Intermediate Animation: Sound to Image	3423 (001)	Matthew Marsden	Thurs 9:00 AM - 3:00 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. Prerequisites FVNM 2420 or 5020	Class Number 1433	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Game Design, Animation Location MacLean 714
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. Prerequisites FVNM 2420 or 5020	Class Number 1434	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 714, MacLean 717
Chaos, Catalysis and Kinetics	3450 (001)	Gary McDowell	Wed 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2159	Credits 3	Department Liberal Arts Location Lakeview - 1503
Architecture and Art of the Islamic World	3482 (001)	Maggie Schuster	Mon 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1054	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Top:Globalizing Japanese Pop Culture	3500 (001)	Aiko Kojima Hibino	Mon 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1752	Credits 3	Department Liberal Arts Location Lakeview - 205
Top:Sociology of Consumption	3500 (002)	Aiko Kojima Hibino	Tues 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1754	Credits 3	Department Liberal Arts Location Lakeview - 202
Modern European Architecture and Theory: 1890-1965	3502 (001)	Timothy Wittman	Tues 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1060	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
The Prairie School And Frank LLoyd Wright	3504 (001)	Timothy Wittman	Mon 12:15 PM - 3:00 PM In Person
Description This course examines the career of America's best known architect alongside the work of his followers. Consideration is given to the origins of the Prairie School, how it achieved broad patronage, and why its popularity declined after World War I. Also examined are the Prairie School's eclecticism, its relationship to modernism, and its principles of organic design. On-site explorations include Wright's Oak Park Home and Studio and the Wright Prairie School Historic District in Oak Park. Other architects considered for their interpretations of the style are W.B. Griffin, B. Byrne, Tallmadge and Watson, W. Drummond, and G.W. Maher. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1086	Credits 3	Department Art History, Theory, and Criticism Area of Study Sustainable Design Location MacLean 608
Advanced Black and White Photography	3511 (001)	Galit Julia Aloni	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. Prerequisites PHOTO 1001 and PHOTO 2011	Class Number 1537	Credits 3	Department Photography Area of Study Art and Science, Books and Publishing Location 280 Building Rm 206
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1689	Credits 3	Department Liberal Arts Location Lakeview - 1503
Neuroscience and the Mind	3519 (001)	Niki P Sabetfakhri	Tues 6:45 PM - 9:30 PM In Person
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! Prerequisites Prerequisite: First Year English requirement.	Class Number 1706	Credits 3	Department Liberal Arts Location MacLean 617
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1681	Credits 3	Department Liberal Arts Location Online
HS:History of Radio	3520 (001)	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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1737	Credits 3	Department Liberal Arts Location Online
HS:The Cuban Revolution	3520 (002)	W Douglas	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1741	Credits 3	Department Liberal Arts Location MacLean 707
HS: American Origins	3520 (004)	Deirdre Lyons	Mon 6:45 PM - 9:30 PM In Person
Description This course will introduce students to the ways in which colonialism in the Atlantic World(s) made the modern Americas. Emphasizing the long-term cross-cultural interactions and exchanges between Africa, the Americas, and Europe, we will explore the dynamics of conquest, enslavement, and colonialism and their reciprocal relationships to consumption, resistance/revolt, and freedom. We will use a combination of primary documents, images, relevant news articles, documentaries, music, podcasts, and academic readings to explore the comparative historical experiences of Indigenous peoples, Africans, Creoles, and Europeans from the 1440s-1800s. Evaluation will be based on in-class participation, writing assignments, and short reflection papers. Prerequisites Prerequisite: First Year English requirement.	Class Number 1756	Credits 3	Department Liberal Arts Location MacLean 608
HS: The Medieval Islamic World, 600--1400	3520 (006)	Aisha Valiulla	Thurs 3:30 PM - 6:15 PM In Person
Description For many people, the premodern Islamic world is a fabled Arabian Nights-type place, with princesses, domes, genies, and adventure. Popular depictions such as Aladdin (1992) emphasize deserts and palaces, sword and horse. But what was it really like? This course analyzes medieval Islamic history from the advent of Islam (7th CE) up to the aftermath of the Mongol conquests (13th CE) to understand the political, cultural, and socio-religious contours of the medieval Islamic world. Through the eyes of scholars, travelers, slaves, and merchants, we will explore pluralism, mobility, and cosmopolitanism within the Dar al Islam, which stretched from Spain in the west to China in the east. Prerequisites Prerequisite: First Year English requirement.	Class Number 2164	Credits 3	Department Liberal Arts Location MacLean 707
HS:Palestinian/Israeli Conflct	3520 (007)	Iymen Chehade	Tues 12:15 PM - 3:00 PM In Person
Description This course offers a critical overview of the origins and politics of the Arab-Israeli conflict through the use of dual narratives. It examines the roots of Zionism and Palestinian nationalism, the deterioration of Jewish-Arab relations during the late Ottoman and Mandate periods, the role of Arab states, the establishment of the state of Israel and subsequent dispersion of Palestinians, the Arab-Israeli wars, the Intifadas, and the possibility of a negotiated peace agreement. Prerequisites Prerequisite: First Year English requirement.	Class Number 2471	Credits 3	Department Liberal Arts Location MacLean 111
HS: United States - Latin American Relations	3520 (008)	W Douglas	Wed 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2488	Credits 3	Department Liberal Arts Location MacLean 608
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! Prerequisites Prerequisite: First Year English requirement.	Class Number 1697	Credits 3	Department Liberal Arts Location Lakeview - 1503
Top:Theorizing Disability	3522 (001)	Joseph Grigely	Tues 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1749	Credits 3	Department Liberal Arts Location MacLean 707
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1688	Credits 3	Department Liberal Arts Location Lakeview - 1503
Botany: The Plant Biology	3533 (002)	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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1682	Credits 3	Department Liberal Arts Location Lakeview - 1503
Sustainability	3539 (001)	Michele Hoffman	Wed 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1683	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location MacLean 301
Top:Drugs We Use and Abuse	3550 (001)	Sarah Burris, PhD	Mon 6:45 PM - 9:30 PM All Online
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2373	Credits 3	Department Liberal Arts Location Online
Top: Mimicry, Masks, Doubles: Surrealist Mimesis	3550 (002)	Jeremy Biles	Wed 12:15 PM - 3:00 PM In Person
Description Focusing on the discourse of surrealism from its inception to the current moment, this class investigates the peculiar powers of surrealist modes of mimesis in the interrelated forms of mimicry, masks, and doubles. Taking a philosophical approach to the material, we ask questions including: How does surrealism theorize, analyze, and use mimesis to achieve its particular uncanny effects? What is the value of these effects? What implications does this vein of surrealist inquiry have for thinking and making today? The class engages a wide array of concepts, including: sex, sexuality, and gender; love and eroticism; the uncanny; death; chance; desire; madness; haunting; mannequins and dolls; representation; camouflage and counterfeiting; simulation; Afrosurrealism; humor; identity/otherness; revolutionary politics; freedom; unconscious; image; imagination; dreams; games; myth; magic. We engage surrealist expressions in both written (literary and philosophical) and visual forms. Required course readings prioritize ¿primary¿ texts from surrealist thinkers (e.g. Breton, Caillois, Bataille, Dali, Césaire, Carrington), but also include critical literature (e.g. Taussig, Caws). Students write two short reflection papers and a longer final paper (graded). Students also take part in both individual and group making exercises (particularly writing and drawing) as an experimental basis for critical analysis (ungraded). Prerequisites Prerequisite: First Year English requirement.	Class Number 1489	Credits 3	Department Liberal Arts Location MacLean 620
Top:Tropical Ecosystems and Biodiversity	3550 (002)	Camila Pizano	Mon 8:30 AM - 11:15 AM In Person
Description This course will explore tropical ecosystems, where biological diversity peaks. The beauty and extreme variety of tropical life forms have not only provided scientists with a frontier for the discovery of new species, new drugs, etc., but have also inspired people from across disciplines. This course will provide an introduction to studies of living organisms and ecosystems in the tropics, ecological relationships among species, the influence of tropical biodiversity on different disciplines, and issues surrounding the conservation of tropical species and ecosystems. Course work includes discussions, worksheets, quizzes, and online videos and readings (textbook excerpts, magazine and journal articles, book chapters, and interviews), as well as talks by invited speakers. Course work and assignments include presentations on specific tropical organisms, types of ecosystems, and the multiple dimensions of people and forests¿ interactions in the tropics, as well as short writings and artistic interpretations. The course includes one or two required field trips. Prerequisites Prerequisite: First Year English requirement.	Class Number 2379	Credits 3	Department Liberal Arts Location MacLean 620
Top: Divination: Theory and Practice	3550 (003)	Peter O'Leary	Fri 12:15 PM - 3:00 PM In Person
Description A detailed investigation of one or a few topics in religious studies with an eye to addressing contemporary interests. Prerequisites Prerequisite: First Year English requirement.	Class Number 2149	Credits 3	Department Liberal Arts Location MacLean 608
Top:Conservation Biology	3550 (003)	Camila Pizano	Wed 8:30 AM - 11:15 AM In Person
Description Earth is full of a spectacular diversity of life forms as a result of more than 4 million years of evolution. However, human modification of ecosystems has significantly altered natural habitats and landscapes, impacting organisms inhabiting them. This course explores the causes and consequences of biodiversity loss, and how the field of conservation biology, an inter-disciplinary field, brings together different areas such as ecology, social science, genetics, anthropology, communication, sociology and restoration to identify problems and solutions to the loss of ecosystems and species. This class begins by exploring why biodiversity is important and valuable from different angles, disciplines, and instrumental arguments, while exploring the main consequences of biodiversity loss. In collaboration with Chicago¿s multiple conservation agencies, the class then turns attention to local efforts of conservation of land and aquatic species and ecosystems. Course work includes discussions, worksheets, quizzes, online videos and readings (textbook excerpts, magazine, journal and newspaper articles, book chapters, interviews), as well as talks by invited speakers. There will be required field trips to the Lincoln Park Zoo, the Shedd Aquarium, The Field Museum, and the Chicago Botanic Garden. Prerequisites Prerequisite: First Year English requirement.	Class Number 2380	Credits 3	Department Liberal Arts Location MacLean 501
Sociology of Latinas	3555 (001)	Christina Gomez	Wed 12:15 PM - 3:00 PM In Person
Description This course examines the diversity of Latina experiences in the United States and the construction of Latina identities, social movements, artistic expressions, and political participation. The course centers around testimonios -- or life stories -- specifically focusing on understanding the struggles of Latinas in everyday life. Topics include Latina feminism, colorism/race, sexualities, educational attainment, violence against women, and labor participation. Readings and screenings will vary but generally include 'testimonios,' essays, studies, and documentaries focusing on the experiences of Latinas in the United States. Including demographics of the Latinx Population,Fact Sheet on Latinas ¿ Health, Education, and readings from Economics, Political Science, Sociology, Anthropology, and Literature that focus on Latinas experiences, studies, and policies. Books include:The Latina Feminist Group, Telling to Live: Latina Feminist Testimonios and This Bridge Called My Back: Writings by Radical Women of Color, Editors: Cherrie Moraga and Gloria Anzaldua. We examine issues, such as forced sterilization of Latina women in the U.S., skin color discrimination, sexual abuse, and the ongoing pay disparity that Latinas face that has barely budged within the last 30 years. 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1747	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Gender and Sexuality Location Lakeview - 202
Ecology, evolution, and our role in a changing world	3557 (001)	Matthew Nelsen	Thurs 8:30 AM - 11:15 AM In Person
Description Earth is home to diverse life. These organisms interact with and influence both one another and the environment. We will begin the semester by exploring the nature of these interactions, their structure and importance, and the diversity of life on Earth, while also gaining insight into the scientific method and the data and approaches utilized to generate an understanding of the world around us. We will then shift to discussing the origins of diversity and how both the Earth and life on it have changed through time. Armed with a richer perspective of this diversity and its origins, we will then move towards the present to discuss current threats endangering this diversity (such as climate change), and actions we can take to mitigate this loss. Together, students will ultimately acquire a deeper understanding of and appreciation for the world around us, while also considering our place in and impact on it. It is hoped that this greater cognizance will serve as inspiration for students and their artistic work, while also leading them to more deeply consider the fascinating evolutionary history underlying many of the materials used in their work. Prerequisites Prerequisite: First Year English requirement.	Class Number 1700	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location Lakeview - 1503
Food Futures: Searching for Sustainability	3559 (001)	Andrew S. Yang	Fri 12:15 PM - 3:00 PM All Online
Description What are the crucial connections between the food we grow and eat to the ongoing challenges of global warming and biodiversity loss? What could it mean to eat ¿sustainably¿? Starting from key ecological principles of food, we will examine the promises and pitfalls of modern-day industrial agriculture, genetically-modified foods, supermarkets, as well as complexities of food waste and emerging food technologies. This exploration of agriculture¿s historical development will also have us confront issues of environmental justice, food independence, and labor that are central to food sustainability today. Contemporary food systems are inherently global and our examination will connect through of U.S. practice and policies. Individual research presentations, short debates, and weekly written assignments will be core components of this course. Materials, videos, and documentaries will include topics like global warming, nutrient cycling, entomophagy, he American Dust Bowl, the 'Green Revolution,' GM Foods, and etc. (Food Inc. The Man Who Tried to Feed the World, Just Eat It, King Corn, Big River, and more). Writers and researchers may include: Michael Pollan, Jared Diamond, George Monbiot, Vandana Shiva, NOAA/NASA, New York Times. Students will be expected to keep up with weekly readings and viewings, out-of-class short answer quizzes, in-class exercises, as well as small research projects + in-class presentations on food sustainability topics of their choice. Prerequisites Prerequisite: First Year English requirement.	Class Number 2360	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location Online
Biotechnology and Society	3565 (001)	Sarah Jane Quillin	Tues 8:30 AM - 11:15 AM In Person
Description This course surveys the science behind emerging biotechnologies in neuroscience, genomics, genetic engineering, transhumanism and artificial intelligence. For each technology we discuss, we will focus on the biology on which that tool has been developed from/for. Once we obtain an understanding of the scientific background of these topics, we will also discuss potential bioethical situations the use of these biotechnologies brings. Finally, we will learn to think critically about these topics and how they are presented to us in the media. The objective of this course is to gain a thorough understanding of the scientific method, as well as the key functional components of the brain and body on a molecular level. These foundations are critical for the translation of scientific knowledge into critical thinking about the presentation of science in the media, as well as the creation of a strong justification for one?s own ethical positions. Throughout the semester students will complete readings and written homework assignments. The final will consist of a written paper on a specific technology that the student would like to further analyze, as well as a short oral presentation to their peers. Prerequisites Prerequisite: First Year English requirement.	Class Number 2493	Credits 3	Department Liberal Arts Area of Study Art and Science Location Lakeview - 1503
Creating Life: Nature, Nurture and Embryology	3566 (001)	Anna Edlund	Fri 3:30 PM - 6:15 PM In Person
Description A newly fertilized egg has none of its later adult features; these emerge through interplay between external and internal forces. We will explore how embryos take shape, generate patterns, and also evolve novelty. Our discussions of creation in the context of evolution and embryology, will be enriched by laboratory exercises and several projects on fate, chance, and necessity during deep time and in a single lifetime.	Class Number 2383	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality, Art and Science Location Lakeview - 1503
International Politics	3567 (001)	Patrick Lynn Rivers	Thurs 12:15 PM - 3:00 PM In Person
Description This is an introductory course surveying themes in international politics. Possible themes include: theories of international relations, human rights, globalization, environmental concerns, defense and national security, international organizations and trade. Possible readings include: Kegley, World Politics: Trend and Transformation (2010); Hernandez-Truyol and Powell, Just Trade: A New Covenant Linking Trade and Human Rights (2009); Giddens, The Politics of Climate Change (2009); Sylvester, War, Feminism & International Relations (2010); Lisk, Global Institutions and the HIV/AIDS Epidemic: Responding to an International Crisis (2009). Prerequisites Prerequisite: First Year English requirement.	Class Number 2251	Credits 3	Department Liberal Arts Location MacLean 816
Documentary and Non-Fiction Film	3600 (001)	Daniele Wilmouth	Tues 9:00 AM - 3:00 PM In Person
Description The course is survey of documentary film practice, from its inception up to current times. Throughout the course we will review the change in formal, thematic and ethical concerns underlying documentary filmmaking, with an emphasis on the ways in which technological development impacted the production of time-based journalism, the presentation of subjective perspectives on political and social issues, the use of documentary as a political tool for generating impact or propaganda, narrative structures in the documentary format etc. Emphasis will be placed on the question of the use of visual media as a form of knowing, recording and telling. Viewings will typically include films by Lumiere Brothers and Edison, early documentary filmmakers such as Flaherty, Vertov, Lenny Reifenstahl, Pare Lorenz, Walter Ruttman, Joris Ivens and John Grierson, the lyrical documentary work of Basil Wright, the social documentary films of Humphry Jennings, Direct and Verita filmmakers such as Rouch, Weisman, Maysles brothers, Leacock, Pennebaker and Ross McElwee, the audio documentaries of Glenn Gould, the archival documentaries of Ken Burns, contemporary social reflection and engagement by filmmakers such as Errol Morris and Michael Moore, the work of the Sensory Lab and much more. In the course of the semester students will be researching, assembling material, interviewing and editing video for three short assignments and a final, longer, documentary project that will be incorporating the material viewed and discussed in class and demonstrate a mastery of -- and inquiry into -- the documentary film/video tradition. Prerequisites Prerequisite: FVNM 2005 or FVNMA 5020	Class Number 1466	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 518
Surface Tensions: Taxidermy and Contemporary Art	3652 (001)	Giovanni Aloi	Tues 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1096	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Rock and Roll vs. Modern Life	3663 (001)	Seth Kim-Cohen	Wed 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1065	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Disease Dynamics	3700 (001)	Joshua A McKeever	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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1701	Credits 3	Department Liberal Arts Location Lakeview - 203
History of Philosophy: Medieval to Renaissance Philosophy	3702 (001)	Robert Kiely	Wed 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1474	Credits 3	Department Liberal Arts Location MacLean 301
The invisible Cinema: Asian American Cultural Diaspora	3703 (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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2267	Credits 3	Department Film, Video, New Media, and Animation Area of Study Class, Race, Ethnicity, Playwriting/Screenwriting, Community & Social Engagement Location MacLean 1307
Contemporary Art House Cinema: Fugue States	3704 (001)	Melika Bass	Wed 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 Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2268	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1307
History of Philosophy: Hegel to the 20th Century	3704 (001)	Guy Elgat	Fri 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1486	Credits 3	Department Liberal Arts Location MacLean 111
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. Prerequisites Prerequisite: FVNM 3003 or 5020	Class Number 2191	Credits 3	Department Film, Video, New Media, and Animation Area of Study Community & Social Engagement, Public Space, Site, Landscape Location MacLean 1408
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2167	Credits 3	Department Liberal Arts Location MacLean 608
The Dematerialization of the Art Object	3710 (001)	Simon Anderson	Thurs 12:15 PM - 3:00 PM In Person
Description This course charts the demise of the object and image in the work of modern and contemporary art. Known in various guises as concept or conceptual art, process art, information or idea art, this apparent assault on the visual nature of art was undertaken by many artists who were to become very well regarded in the sixties and seventies-and their influence is still felt today. The course will attempt to identify different strands within this general trend in terms of aesthetic, political, and historical precession; and consideration will be given to the possible reasons behind the ramifications of the dematerialization of the art object. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2121	Credits 3	Department Art History, Theory, and Criticism Location MacLean 608
Psychology Of Art And The Artist	3715 (001)	James Driscoll	Wed 12:15 PM - 3:00 PM In Person
Description An exploration of historical and contemporary psychological approaches to understanding art, artists, and the art world. Prerequisites Prerequisite: First Year English requirement.	Class Number 1759	Credits 3	Department Liberal Arts Location MacLean 816
Psychology of Sensation, Perception and Attention	3722 (001)	James Driscoll	Fri 12:15 PM - 3:00 PM In Person
Description An introduction to the psychology of sensation, perception, and attention. Perceptual processes of behavior, including attention, are studied in addition to the basic neurobiology of sensation. Traditional and current topics including color, space, and motion perception, attentional selection, sensory memory, perceptual organization (Gestalt groupings), pattern recognition, and the cognitive and social aspects of perception may be reviewed. Prerequisites Prerequisite: First Year English requirement.	Class Number 1760	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Lakeview - 202
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2168	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Lakeview - 202
Design Discourses	3740 (001)	Michael Golec	Wed 8:30 AM - 11:15 AM In Person
Description This class examines diverse perspectives on the production, consumption, and use of design. Reading key primary writings by designers and observers, we will consider topics such as the role of technology in design change, the uses and functions of design in relations to commerce and social reform. Readings will include written texts by modern and post-modern designers; as well as well as critics, historians, and theorists responding to design and the designed environment. Course work typically includes responses to readings in relation to object analysis, a modest research paper, and mid-term and final exams. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2117	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
The Psychology Of Death	3745 (001)	Alberto E. Varona	Mon 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2169	Credits 3	Department Liberal Arts Location MacLean 608
Top:Intro Linguistic Anthrop	3800 (001)	Matilda Stubbs	Wed 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1738	Credits 3	Department Liberal Arts Location MacLean 620
Top: Anthro of China Today	3800 (002)	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. Prerequisites Prerequisite: First Year English requirement.	Class Number 1757	Credits 3	Department Liberal Arts Location Lakeview - 203
Top: Art, Property and Museum	3800 (003)	Jake Nussbaum	Thurs 12:15 PM - 3:00 PM In Person
Description Historically, the discipline of Art History has been the study of white men, whereas Anthropology has been the study of the creative practices of ¿others,¿ i.e., those subject to European imperialism and colonization. This has created a hidden dynamic in the ways we think about human creativity: ¿art¿ is understood to be the product of individual genius (i.e., whiteness and masculinity), whereas ¿culture¿ is the anonymous and traditional production of ¿a people.¿ And yet, all creative practice emerges within specific social and historical contexts and at the nexus of tradition and innovation, the individual and the collective. In this class we will salvage the tools of anthropological analysis from their colonial origins to radically transform our understanding of art and its place in the world. Drawing on theoretical and anthropological readings in three thematic areas¿Art, Property, and Museums¿we will critically examine the ways human creativity is valued and appreciated while also learning to refuse the racialized and gendered hierarchies that structure the category of ¿art.¿ At the same time, we will engage with artworks, films, and exhibitions that appropriate the ¿anthropological gaze¿ to further unsettle these hierarchies. Coursework will consist of weekly readings, critical responses to local exhibitions and performances, and independent research projects. In-class activities will draw us further into the contradictions and questions raised. Prerequisites Prerequisite: First Year English requirement.	Class Number 2166	Credits 3	Department Liberal Arts Location Lakeview - 202
Medical Anthropology	3808 (001)	Christine M Malcom	Wed 8:30 AM - 11:15 AM In Person
Description In this course, we examine health and disease in cultural context. This requires challenging narrow Western views of health and the claim that biomedicine is objective and culture free. Topics include the overlapping, but non-identical, concepts of disease, illness, and sickness; the mind-body divide (or lack thereof); a historical overview of human health and cultural change; culture-specific medical practices, practitioners, and syncretism; population-specific health issues and health disparities; medicine under global, late-stage capitalism; and using anthropological knowledge to solve contemporary/emerging health problems. Readings vary but typically include historical works in the discipline by James Roney, George Foster, and Arthur Kleinman, as well as contemporary critical medical anthropology scholars, such as Paul Farmer, Marion Nestle, Marcia Inhorn, and Richard Sapolsky. We will approach these texts as a community, and each class meeting will foreground both small group and class-wide discussion grounded in readings. Students will complete weekly open-note quizzes and two open-note exams. In addition, students will give one presentation and complete three writing assignments. Prerequisites Prerequisite: First Year English requirement.	Class Number 1753	Credits 3	Department Liberal Arts Location Lakeview - 205
Contemporary Art House Cinema: Fugue States	3818 (001)	Melika Bass	Wed 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 Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1075	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
AIA: Architecture: Ugrd Studio 4	3902 (001)	Stephanie Surjan, Odile Compagnon	Thurs, Tues 9:00 AM - 3:00 PM, 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. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1026	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1256, Sullivan Center 1256
AIA: Architecture: Ugrd Studio 4	3902 (001)	Stephanie Surjan, Odile Compagnon	Thurs, Tues 9:00 AM - 3:00 PM, 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. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1026	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1256, Sullivan Center 1256
ARTED: Practices of Art and Design Education in Schools and Communities: Teens and Adults	3904 (001)	S. Bailey Jacobson	Mon 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. Prerequisites Must complete ARTED 3015, ARTED 3021 and any sophomore seminar course	Class Number 1867	Credits 3	Department Art Education Location Sharp 409
ARTED: Practices of Art and Design Education in Schools and Communities: Teens and Adults	3904 (002)	Paul J. Mack	Mon 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. Prerequisites Must complete ARTED 3015, ARTED 3021 and any sophomore seminar course	Class Number 1868	Credits 3	Department Art Education Location Sharp 403
ARTED: Practices of Art and Design Education in Schools and Communities: Teens and Adults	3904 (003)	Catalina Hernández-Cabal	Mon 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. Prerequisites Must complete ARTED 3015, ARTED 3021 and any sophomore seminar course	Class Number 2103	Credits 3	Department Art Education Location Lakeview - 1004
ARTSAD: The Artist Formerly Known as Starving: Freelancing Comics and Illustration	3906 (001)	Anya Pauline Davidson	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. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1579	Credits 3	Department Arts Administration and Policy Area of Study Comics and Graphic Novels, Books and Publishing Location Sharp 409

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