Roger Reeves
Course Search Degree Programs
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Introduction to Clay | 1000 (001) | Sonya Bogdanova | Mon
9:00 AM - 3:00 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 |
Credits |
DepartmentLocation |
| Ceramics: Wheel Throwing Fundamentals | 1001 (001) | Cassandra Scanlon | Sat
10:00 AM - 4:00 PM In Person |
Description
This course will focus on developing beginning and continuing skills on the wheel. Students will be introduced to fundamental methods for using the wheel as a tool to create vessels with consideration of their meaning and consequence and stretch the boundaries of utility. In addition to the design and structure of functional objects, this course will familiarize students with the working properties of ceramic material, firing methods, and glazes.
We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Edmund de Waal, Alleghany Meadows, Gerrit Grimm, Mike Helke, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Chris Staley, Glenn Adamson, Jenni Sorkin, Okakura Kakuzo and Edmund de Waal Projects vary, but typically there are 5-6 assignments in the course with each assignment consisting of 3-20 pieces of finished work with additional research in glaze and firing processes. Students will also have readings and responsibilities with firing work. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (001) | 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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (001) | Eliza Rosen | Mon
9:00 AM - 3:00 PM In Person |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: The Art of Life Writing | 1001 (001) | Aaron Greenberg | Fri
8:30 AM - 11:15 AM In Person |
Description
The art of life writing includes yet transcends the genres of (auto)biography, memoir, confession, diaries, journals, and social media posts. It is a way of life, a creative practice, a performative invitation of past, present, and future selves. As an essential skill of self-representation beyond the classroom, life writing is ideal for exploring the roles of memory, time, authority, and experience in creating individual and collective identities. This seminar will engage key figures across the span of life writing, including Frederick Douglass, who, regarding biographical details such as his age and parents, writes, ¿I know nothing; the means of knowing was withheld from me.¿ As we experiment with innovative tools for writing life in the 21st century, including voice-based composition, we¿ll consider the styles and effects of life writing, including its power to discover as well as create knowledge. Other texts may include St. Teresa¿s Life, Mary Karr¿s The Art of Memoir, Tara Westover¿s Educated, and Ben Franklin¿s Autobiography. Authors including Sidonie Smith, Julia Watson, Leigh Gilmore, and Ben Yagoda will provide critical context for our discussions. Students will create 15-20 pages of formal, revisable, and publishable writing across three short essays and two in-depth revisions. FYS I guides students through college-level writing, establishing foundations for FYS II and upper level Liberal Arts classes.
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Class Number |
Credits |
DepartmentLocation |
| Reading Art | 1001 (001) | Sophie Goalson | Mon
12:15 PM - 3:00 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 |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (001) | Fri
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 |
Credits |
DepartmentLocation |
| Introduction to Architecture | 1001 (002) | Carl Ray Miller | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to the history, culture, and practice of architecture, interior architecture, and historic preservation through lectures, field trips, and hands-on exercises. Students learn fundamentals of spatial analysis and representation through orthographic drawing, understand the cultural context in which spatial practices operate, and explore architectural design. Class work may include field trips to historic buildings; visits to archives, exhibitions, or events; and design exercises introducing plan, section, elevation, and scale; translation between two- and three-dimensional representations of space; and architectural diagramming.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (002) | Catherine Gass | 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 |
Credits |
DepartmentArea of StudyLocation |
| FYS I:Hyphenated Identities | 1001 (002) | Maryjane Lao Villamor | Fri
12:15 PM - 3:00 PM In Person |
Description
FYS I breaks down the critical writing process to provide a guided experience in college-level writing, thereby forming the necessary foundations for FYS II and upper level Liberal Arts classes. The class will explore whether the concept of a hyphenated identity (a dual identity divided by ethnicity, race and culture) stands for otherness, opposition, inclusion, or all of the above. Essays by hyphenated writers, such as Ronald Takaki, Judith Ortiz Cofer, Amy Tan, and Audre Lorde, will act as points of departure as well as models of writing for our exploration of the myth of the United States as a cultural melting pot and whether we can reclaim the hyphenated identity as a source of pride and empowerment in today¿s political climate. Students build writing skills through 15-20 pages of formal, revisable writing (i.e. three multi-draft essays) in addition to homework exercises and in-class writings. Through thoughtfully crafted writing, can we begin to give voice to ethnic populations and create an open dialogue about race, displacement, migration, post-colonialism, post-imperialism, and representation?
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Class Number |
Credits |
DepartmentLocation |
| Reading Art | 1001 (002) | Jennie Berner | Wed
8:30 AM - 11:15 AM In Person |
Description
Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (002) | Mikolaj Czerwiński | 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 |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (003) | 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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (003) | Martha Chiplis | Tues
9:00 AM - 3:00 PM In Person |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: Chicago Stories | 1001 (003) | Adam Mack | Thurs
3:30 PM - 6:15 PM In Person |
Description
This FYS I course will explore the history of Chicago through storytelling. Using the PBS documentary series, 'Chicago Stories' as our main text, students will learn how the city's most memorable events and personalities have been explained through historical narratives for a general audience. The class will encourage students to critically assess and evaluate how public broadcasters convey the city's complex history through various forms of writing assignments including free writing, close readings of images and texts, and critical essays on disputes in Chicago history. This is a studio writing class in which we will focus on writing as a process. Students can expect to compose and revise 15-20 pages in multi-draft writing assignments in addition to homework and in-class writing. Every student will have their work-in-process workshopped by the class (anonymously), as this is a writing workshop. Peer review and one-on-one writing conferences with the teacher should also be expected.
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Class Number |
Credits |
DepartmentLocation |
| Reading Art | 1001 (003) | Aiko Kojima Hibino | Thurs
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 |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (003) | Mikolaj Czerwiński | Fri
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 |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (004) | Artie Foster | Fri
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 |
Credits |
DepartmentLocation |
| Introduction to Architecture | 1001 (004) | Stephanie Slaughter | Mon
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to the history, culture, and practice of architecture, interior architecture, and historic preservation through lectures, field trips, and hands-on exercises. Students learn fundamentals of spatial analysis and representation through orthographic drawing, understand the cultural context in which spatial practices operate, and explore architectural design. Class work may include field trips to historic buildings; visits to archives, exhibitions, or events; and design exercises introducing plan, section, elevation, and scale; translation between two- and three-dimensional representations of space; and architectural diagramming.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (004) | 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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (004) | Eliza Rosen | Wed
9:00 AM - 3:00 PM In Person |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: Writing About Music | 1001 (004) | Emily C. Hoyler | Thurs
8:30 AM - 11:15 AM In Person |
Description
Music is sometimes called the universal language, yet writers often seek to describe it in words. Music scholars, music critics, music fans, and musicians use words to describe music and to make claims about its merits. This course will explore various styles, techniques, and vocabularies for writing about musical sound and performance. The focus will be on reviews of live concerts, album releases, and film music. Students will develop critical thinking skills by evaluating the effectiveness of an author¿s argument. Students will practice making claims and presenting arguments that are successfully supported by writing style, sources, evidence, structure, and logic. Students will read various articles, essays, and chapters about music by historical and contemporary music scholars, critics, and journalists. Topics vary but may include film music, art music and modernism, music technology, and the recording industry, with a focus on music in the 20th and 21st centuries in the United States. In addition to in-class writing assignments, students will write an original research paper, broken down into several assignments/ drafts. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback.
|
Class Number |
Credits |
DepartmentLocation |
| Reading Art | 1001 (004) | Jennie Berner | Fri
8:30 AM - 11:15 AM In Person |
Description
Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.
|
Class Number |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (005) | 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 |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (005) | Kate O'Neill | 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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (005) | John Bowers | Wed
9:00 AM - 3:00 PM All Online |
Description
This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: The Wire | 1001 (005) | Raghav Rao | Mon
6:45 PM - 9:30 PM In Person |
Description
This class invites students into a conversation around the HBO series ¿The Wire.¿ Through writing, discussion, and peer review, students will think critically about television as an art form, hyperrealism, and the lived experience of people in and excluded from civic institutions. This is a writing-focused course investigating both the form (broadcast television) and the content of a commercial art form. The assignments are intended to help students master college-level writing skills namely drafting, espousing an argument, revision, and peer review. Aside from the primary material (Most of Seasons 1-4 of ¿The Wire¿ with Season 5 as optional viewing), students will read excerpts from Toni Morrison, Michel Foucault, James Baldwin, Alec Karakatsanis, Dennis Lehane; Jonathan Abrams; Felicia Pearson. Students are expected to write two essays and a substantially revised version of either one of the essays. Essay 1 will be 4-6 pages. Essay 2 will be 6-8 pages. This is in addition to the several one-page reflections and episode-breakdowns interspersed through the semester.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (006) | Arianna Ray | Fri
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 |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (006) | Thurs
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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (006) | 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.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: Funny Thing | 1001 (006) | Sophie Goalson | Mon
8:30 AM - 11:15 AM In Person |
Description
This First Year Seminar course will explore humor writing as a serious artform, and will employ analysis strategies to get at the core of the question of what makes something funny. By the end of the semester, students will be able to write analytical essays that pick apart and organize ideas around both literature and humor, and will read and explore humorous writing throughout the English canon. 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, Dorothy Parker, Langston Hughes, Nora Ephron, Susan Orlean, Jack Handey, and Trevor Noah, we will get to the heart of what makes something funny, and how humor has changed over time. We will also look at the different formats of comedy, including satire, parody, film-writing, stand-up comedy, and more. Students should expect to write 15 to 20 pages of formal, revisable writing (4 short papers and one medium-length paper). In addition, they will do regular, rigorous in-class writing, and engage in weekly analytical conversation.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (007) | Rhoda Rosen | Wed
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 |
Credits |
DepartmentLocation |
| Introduction to Photographic Image Making | 1001 (007) | Fri
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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (007) | 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.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| FYS I: Law as Story | 1001 (007) | Frank Bonacci | Mon
6:45 PM - 9:30 PM In Person |
Description
As citizens, our only contact with the legal system usually occurs when we have gone awry of the law. We see the legal system from the outside, and it¿s not pretty. We also know that the law protects our rights¿despite this knowledge, the legal system has a reputation of working for the rich while stepping on ¿the little guy.¿ And lawyers? Everybody hates lawyers. But at its heart, the law is two parties telling a story and submitting those stories to a third party who judges which one best fits the law. This course will begin with discussions and writing exercises based on stories and storytelling. Each week after that, we will read and discuss cases or stories related to the law and write about these stories, their role as ¿story,¿ and how they fit into the general standards and notions of what a story is. Papers will focus on the story¿s relation to the law, and the structural and rhetorical elements used in the stories, storytelling and academic discourse as a whole. They will also focus on effective ways to present opinions. Through the legal elements of the course, students will learn critical thinking skills by evaluating the case, the story, and the relationship between the two. They will discern how the case was put together, which elements of argument were used, and why. Students will read cases that are vital to U.S. history, are entertaining, or both. These will include Marbury v. Madison, Palsgraf, and others. Among other readings will be works by Jonathan Shapiro and Franz Kafka. In addition to in-class writing, students will write 15-20 pages of formal writing over the course of the term, using a process approach, including instructor and student feedback.
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Class Number |
Credits |
DepartmentLocation |
| Introduction to Art: Ways of Seeing | 1001 (008) | Hannah Gadbois | Thurs
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 |
Credits |
DepartmentLocation |
| FYS I: Contemporary Shorts | 1001 (008) | James Sieck | Mon
6:45 PM - 9:30 PM In Person |
Description
In this first-year seminar course, we will explore a variety of contemporary short films, stories, and poetry to help us hone our ability to make meaning with complex works of art and to engage in critical, interpretive analysis of how and why each work was constructed. Using short films, short stories, and poems as our core texts gives us the unique opportunity to engage with a wide range of both storytellers and stories told. Meaning, expect to interact with a diverse landscape of authorial voice, thematic content, and narrative technique. All three of these forms are able to convey complex truths about the world we live in, and our discussions and classroom practices will give us the tools to create focused, nuanced interpretations of each piece and to make critical connections between themes and techniques. By the end of this course, students will have a more sophisticated grasp of the mechanics of film, narrative, and poetry. This is an inquiry and discussion based course, and we will learn to situate questions as the basis of our practice as readers, writers, and thinkers. In addition, FYSI guides students through college-level writing, establishing foundations for FYS II and upper level Liberal Arts classes. Students will write 15 to 20 pages of formal, revisable writing. Our writing workshops will focus on generating questions and language, collecting meaningful evidence, constructing sophisticated thesis statements, creating helpful outlines, and drafting our essays. Peer feedback; 1-1 teacher feedback; and in-class writing workshops will be key components of this course.
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Class Number |
Credits |
DepartmentLocation |
| Adv Hist World Art:Prehst-1850 | 1001 (009) | David Raskin | Thurs
12:15 PM - 3:00 PM In Person |
Description
This is an advanced section of the survey of world art and culture, prehistory to 1850. It is intended for BAAH students, Scholars Program students, and students interested in the history of writing about art (and teaching the survey). We will begin at 500,000 BC, and cover approximately 50 cultures; the list is at ow.ly/Y902K. In each case we will also question the ways historians describe the culture; we will study the ways art history textbooks promote certain senses of art and national identity; and we will consider how other institutions have tried to teach the global survey. The class is difficult, and requires a lot of memorization. Concurrent Registration in one ARTHI 1101: Discussion Section for Advanced Survey of World Art Prehistory to 1850 is required.
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Class Number |
Credits |
DepartmentLocation |
| FYS I: Sound, Noise, Power | 1001 (009) | Joshua Rios | Thurs
8:30 AM - 11:15 AM In Person |
Description
This class examines cultural and political power in relation to ideas about sound and noise. What we hear, mis-hear, do not hear, cannot hear, or choose not to hear plays an important role in social life. Those that have power have the power to decide what counts as an acceptable sound or disturbing noise. These facts make sound and noise central to issues of social justice, political activism, and public space. Sound and noise are also vital to the creation of communities of celebration and dissent ¿ in the form of the noise strike, the protest chant, or the collective sing-along, for example. Social groups produce themselves through their listening practices and shared forms of sounding out. We will read and listen closely to scholars, artists, experimental musicians, and journalist like Jennifer Stoever (The Sonic Color Line), Kevin Beasley (A view of a landscape: A cotton gin motor), Gala Porras-Kim (Whistling and Language Transfiguration), Moor Mother (Irreversible Entanglements) and Gregory Tate (Flyboy in the Buttermilk). Additionally, we will learn from a variety of types of sources including Literature, Musicology, Art, Cultural Criticism, Music Journalism, and Poetry. Along with experimental writing assignments linking related topics, key terms, and ideas to personal and social experiences, students will produce 15-20 pages of organized writing broken into drafts and revisions.
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| FYS I: Pop Music and Power | 1001 (010) | Claire Lobenfeld | Thurs
8:30 AM - 11:15 AM In Person |
Description
What can pop music uncover about power? In this writing-intensive course, we'll look at pop music through the lenses of artistry, politics, and history while developing college-level writing skills that build a foundation for FYS II and upper-level Liberal Arts courses. Artists up for discussion include Lizzo, Britney Spears, Jojo Siwa, Chappell Roan, SOPHIE, and, of course, Beyoncé and Taylor Swift. We'll read authors like Danyel Smith, Sasha Geffen, Julianne Escobedo Shepherd, Hanif Abdurraqib, and Rawiya Kamier and hear from the artists themselves through music, interviews, performances, and documentaries. Class time will be spent writing, revising, and developing skills in critical analysis and making a claim in service of 15-20 pages of multi-draft, formal writing. Throughout the semester, peer-reviewing and one-on-one instructor conferences support the process.
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| FYS I: Russian Short Stories | 1001 (011) | Irina Ruvinsky | Mon
8:30 AM - 11:15 AM In Person |
Description
Russia as a young literary nation did not come of age until the period during which the novel dominated the literary scene. While it was the novel that made Russian literature legendary around the world, many Russian masters including Tolstoy, Chekhov, Turgenev and Bulgakov devoted themselves to the cultivation of the short story. The short story as a genre assumed a role in Russian literature that rivaled and perhaps even surpassed that of the novel. In this course we will explore the many cultural and social forces that led to the rise of the Russian short story as a style unique to Russian literature and its themes. FYS I is an intensive writing course that will include an in-depth introduction to critical thinking and persuasive writing strategies. Students can expect to submit three writing assignments that will range between 5-6 pages each that will be based on analytical and persuasive approaches to academic writing.
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| FYS I: Curiosities | 1001 (012) | Joanna Anos | Thurs
12:15 PM - 3:00 PM In Person |
Description
To have curiosity is to be inquisitive, to wonder and to want to know. To be a curiosity, on the other hand, is to be a novelty or rarity, something odd or unusual or strange. In this writing intensive course, students explore curiosities, practice wonder, and pursue questioning. Readings include verbal and visual texts: essays and articles, photographs and artifacts. Students write and revise several essays of modest length, including analyses of visual texts and their own ¿curated collection¿ of curiosities.
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| FYS I: Jean Luc Godard | 1001 (013) | Annette Elliot-Hogg | Tues
12:15 PM - 3:00 PM In Person |
Description
?The cinema is truth 24 frames-per-second.? The films of Jean Luc Godard, including modernist classics such as ?Breathless,? ?Vivre Sa Vie,? and ?Masculin Feminin,? test the edges of narrative film by radically integrating reality and fiction. Through hermetic personal essays rich with references to film, philosophy, poetry, music and painting, Godard attempts to unify his life and his art. In this class we will examine the concept of cinematic autobiography: In what ways does cinema reflect reality and in what ways does cinema create reality? This course will develop students? critical thinking, reading and writing skills. Over the course of the semester, students will write two critical essays (15 to 20 pages of formal writing), which will be workshopped in class and revised. Students will learn how to develop a debatable thesis statement and support it with a series of arguments.
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| FYS I:The Art of the Essay | 1001 (014) | Alexander W Jochaniewicz | Mon
8:30 AM - 11:15 AM In Person |
Description
An attempt, a venture, an experiment, a weighing - the essayist discovers new insight into the common, the peculiar, the sacred, the profane - drawing lines between the trivial and profound, the essayist tries: while difficult to define, this genre instructs, entertains, questions and refines. Students of this course will examine this genre of literature and will practice it, too: being introduced to a wide range of authors, writing on topics familiar and foreign, from the personal to the argumentative, from the art historical to the humorous, students will practice this craft by critically analyzing the work of others and writing different types of essays in a workshop environment that emphasizes the writing process, from generating ideas, to oral presentations, to drafting and peer review, to re-seeing and revising. FYS I develops college-level writing skills, prepares one for FYS II and upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing.
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| FYS I: Surrealism and its Afterlives | 1001 (015) | Stephen Williams | Thurs
3:30 PM - 6:15 PM In Person |
Description
Surrealism is among the preeminent modes of twentieth century art. It is the product of a specific moment in history, and yet it has proved remarkably adaptable through time and across cultures, languages, media, and genres. This FYS I course introduces students to college-level writing, reading, and critical thinking skills using Surrealism and its legacy as a focal point, and prepares them for FYS II and upper level Liberal Arts courses. We will consider critical and creative writing, as well as some visual art, by figures such as André Breton, Phillippe Soupault, Leonora Carrington, Alice Rahon, Aimé Cesaire, Octavio Paz, Barbara Guest, Alejandra Pizarnik, and Bei Dao. Some topics we might investigate include Surrealism's relationship to the art that came before it; its conceptions of daily life, and individual and collective personhood; its engagement with contemporaneous developments in science and technology; and its relationship to issues of race, class, gender, and to historical events. Students should expect to compose (plan, draft, critique, and revise) 15-20 double-spaced pages of formal writing, in addition to regular in-class and out-of-class writing assignments.
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| FYS I: Civil Disobedience | 1001 (016) | Suzanne Scanlon | Thurs
8:30 AM - 11:15 AM In Person |
Description
This class will read texts that explore civil disobedience, protest, the role of the individual in society; the role of government in the lives of individuals; and the intersection of community, government and individuals. We will read from different historical periods, and explore how individual participation is essential for a functioning democracy. Readings will discuss different forms that participation takes, with special attention paid to various types of civil disobedience (Thoreau, Tolstoy, Gandhi, Martin Luther King Jr, and others). Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and one in-depth revision) in addition to homework exercises and in-class writing.
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| FYS I: Narrative Voice | 1001 (017) | Andrew Lindsay | Thurs
8:30 AM - 11:15 AM In Person |
Description
FYS I develops college-level writing skills and prepares one for FYS II and upper-level Liberal Arts courses. In our FYS I class, we will develop our critical reading, writing, and thinking skills as we trace the development of the modern short story with a particular focus on narration. Many critical innovations in the modern short story emerge from fundamental questions: Who is telling the story? Why are they telling it? When are they telling it? This course involves close reading of short stories that foreground these questions, helping students uncover the meaning and significance of key Modern and Postmodern literary innovations. In-class discussions and workshops will support the craft of academic writing. Through repeated short writing exercises, students will internalize the structure of effective argumentation. We will also practice the art of thesis-writing - translating general observations about the short story into risk-taking, compelling arguments.
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| FYS I:Brit Fem Writers | 1001 (018) | Eileen Favorite | Wed
8:30 AM - 11:15 AM In Person |
Description
In this writing-intensive course, students will read classic novels, with an emphasis on examining the way these texts shaped ideas about colonization, mental illness, and British cultural dominance. With Charlotte Brontë¿s, Jane Eyre, we¿ll discuss how this classic bildungsroman, with its groundbreaking attack on social class and religious hypocrisy, also reinforced negative racial stereotypes and influenced discriminating attitudes toward people with mental illness. We¿ll read The Wide Sargasso Sea, Jean Rhys¿s 1966 rewrite of Jane Eyre from the perspective of Bertha Mason, and how feminist interpretations of the work have, according to the critic C.M. Mardorossian ¿failed¿to do justice to its complex representation of Caribbean racial relations.¿ Students will write 15 to 20 pages of formal, revisable writing. In-class activities include peer review, workshopping, and free writing to generate paper topics, including a formal, argument-driven paper.
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| FYS I:Protest Literature | 1001 (019) | Patrick Durgin | Fri
12:15 PM - 3:00 PM In Person |
Description
This course explores some ways that 20th century, African-American literary artists, and more recently filmmakers, articulated political dissent, with a focus on the shift from Civil Rights to Black Power. Protest usually takes the form of a ¿demonstration¿ or ¿march,¿ sorts of performance where public space is redefined for assembly, expression, and dialogue. This form of activism makes connections, challenges assumptions, and gives one practice in trusting their intuition, helping impacted people feel they have support and collectively communicating grievances to disinterested citizens and power brokers alike. Occupying space is a way to occupy attention over time and increase the amount of consideration given to those who otherwise lack civic power. As a form of expression, a ¿declaration¿ or ¿avowal,¿ to quote the Oxford English Dictionary, protest can also occur in aesthetic spaces, such as cinemas, galleries and even isolated acts of reading and writing. FYS I is an intensive writing course that prepares students for FYS II and other Liberal Arts courses. In class, we will engage deeply with course materials in productive discussions that will foster critical thinking and inform student writing. In addition to weekly homework assignments and in-class writing, students can expect to compose and revise 15-20 pages of formal writing through a process approach to hone their argumentative skills and build their confidence in expressing their ideas clearly and effectively.
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| FYS I: Minds and Machines | 1001 (020) | Guy Elgat | Thurs
12:15 PM - 3:00 PM In Person |
Description
What are minds? What is it to have a mind, to have consciousness? How, if at all, are minds different from machines? In this course, by reading pieces by Shaffer, Carruthers, and Searle, we will become acquainted with these concepts and issues and learn how to think about them in a more informed and critical fashion. The course is writing intensive: students should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and two in-depth revisions) in addition to homework exercises and in-class writing and discussion.
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| FYS I:Writing from Art | 1001 (021) | Terri Griffith | Tues
8:30 AM - 11:15 AM In Person |
Description
Painting, sculpture, film, music, literature. In this course students will use both their own and the creative works of others as the starting point for their papers. Through critical reading, visits to the museum, and process-oriented writing, students will learn the craft of essay writing. Texts include works by John Cage, Gertrude Stein, and Honoré de Balzac.
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| FYS I:Music and Society | 1001 (022) | Emily C. Hoyler | Thurs
12:15 PM - 3:00 PM In Person |
Description
Music reflects and informs many aspects of society and culture. This course examines the writings of scholars and critics who have argued for various philosophies, functions, and styles of music. Each week, we will feature a topic related to music¿s role in society and explore issues of aesthetics, expression, and performance. Writing exercises will focus on a specific writing technique or strategy. Students will develop critical thinking skills by evaluating the effectiveness of an author¿s argument through rhetoric, logic, and evidence. Students will practice making claims and presenting arguments that are successfully supported by writing style, sources, structure, and reason. Students will read a selection of music scholars, critics, and writing specialists, including but not limited to Joseph Auner, Jane Bernstein, Susan Douglas, Hua Hsu, Mark Katz, Alex Ross, and Kate Turabian. Topics vary but may include opera, film music, modernism, music technology, protest music, text setting, and musical genre. In addition to in-class writing assignments, students will write an original research paper, broken down into several assignments/drafts. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback.
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| FYS I:American Writers in Paris | 1001 (023) | Anita Welbon | Mon
12:15 PM - 3:00 PM In Person |
Description
Attracted by the economic and creative freedom Paris offered, twentieth-century American writers found a place to become the writers they wanted to be and discovered a supportive community of intellectual and visual artists. We will read creative and autobiographical writings, view relevant films, and examine the historical and cultural connection between France and the United States that contributed to the development of American writers, including James Baldwin, Gwendolyn Bennett, Ernest Hemingway, Langston Hughes, and Gertrude Stein. In this course, students will develop their critical reading and writing skills and write three short papers and one longer paper based on research.
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| FYS I: Film Aesthetics & The Studio System | 1001 (024) | Jacob A Hinkson | Fri
3:30 PM - 6:15 PM In Person |
Description
In this writing intensive course, we will develop the skills of argument-driven composition as we examine the aesthetic foundation of American cinema: the classic Hollywood studio system of the 1940s. What was the studio system? How was it formed, how did it function, and how did it shape the aesthetics of modern American cinema? We will look at the ways Golden Age studios developed individual identities and how they shaped their specific ¿house styles.¿ In doing this, we¿ll also track the codification of genres like the melodrama, the musical, and the film noir. Readings will include critical works by Raymond Borde and Étienne Cahumeton, Jeanine Basinger, and Ethan Mordden. These materials will inform multiple argument-driven essays which 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 outside sources into researched-based arguments. Students should expect to write 15 to 20 pages of formal, revisable writing in addition to homework exercises and in-class writing. By providing guided experience in college-level writing, this course forms the necessary foundation for FYS II and upper level Liberal Arts classes.
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| FYS I: Good Grief | 1001 (025) | Jessica Anne Chiang | Thurs
6:45 PM - 9:30 PM In Person |
Description
What does it mean to grieve? To perform sadness & loss? Who is the audience? Where is the stage? This first year seminar focuses on writing as self care, writing to breakthrough, and writing to/for our own collective trauma. We will read & consider a range of art & writing from Alison Bechdel, to Rachel Cusk, Sally Mann & Virginia Woolf. We will also welcome, (but not require) stories of our own losses and unimaginable pain, in turn examining, through deep concentration and discussion; something permanent and good. Students will complete 15-20 pages of writing (2 essays followed by a substantial revision) in addition to in-class writing, presentations, and peer workshopping.
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| FYS I: Frankenstein and Media | 1001 (026) | Michael R. Paradiso-Michau | Fri
8:30 AM - 11:15 AM In Person |
Description
FYS 1 provides guided experience in college-level writing, thereby forming the necessary foundation for FYS II and upper level Liberal Arts classes. This section of FYS 1 will take a deep dive into the minds of both Mary Shelley, author of Frankenstein (1818) and Victor Frankenstein, the infamous scientist who reanimated body parts into his infamous Monster. We will read, write, think, watch, discuss, and critically reflect on one novel and its continuing legacies into the twenty-first century. Readings and screenings will include the Frankenstein novel by Mary Shelley, secondary scholarship on her novel, films that adapt and rework Frankensteinian themes, and one graphic novel updating of the classic myth. Students should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and one in-depth revision) in addition to homework exercises, two presentations, and in-class writing.
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| FYS I: What is a Poem? | 1001 (027) | Sherry Antonini | Thurs
12:15 PM - 3:00 PM In Person |
Description
Musicality and an exquisite choice of words, sensory detail, and form¿the elements of masterful crafting in poetry offer a flight into worlds both familiar and unfamiliar and language for experiences which are often otherwise wordless. In this course students will consider a range of poems across the timeline of literature to learn how to read poetry deeply and thoroughly, both for content and to recognize craft as it supports meaning. Some poets likely to be considered are Sappho, Gertrude Stein, Sylvia Plath, Maya Angelou, Julia Alvarez, Jericho Brown, Ocean Vuong, Jo Harjo, and Amanda Gorman, among others. The work of this course will involve assigned readings, related research, and presentations. Students will be expected to write essays based on course content that are developed from early draft through final revision stages to total 15-20 pages of writing, as well as engage in writing exercises and discussions.
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| FYS I: How to Read a Poem | 1001 (028) | Zachary Tavlin | Thurs
3:30 PM - 6:15 PM In Person |
Description
FYS I prepares students for advanced study in the Liberal Arts by attending to the foundational skills of college-level writing and interpretation, such as close reading, critical analysis, academic argumentation, essay structure, and style. 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 15 to 20 pages of formal, revisable writing.
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| FYS I: Witches in the Words | 1001 (029) | Sherry Antonini | Wed
12:15 PM - 3:00 PM In Person |
Description
In this course, we?ll read about witches across diverse forms of literature including folk and fairy tales, poetry, plays, and short stories. We?ll read writing by The Brothers Grimm, Octavia Butler, Arthur Miller, Joy Harjo, Rebecca Tamas, Jane Yolan, and Yumiko Kurahashi to trace the footsteps and flight patterns of witches as they appear in various roles such as mother, monster, healer, and teacher. In support of our investigations, we?ll also read selected critique essays from Donald Haase?s Fairy Tales and Feminism and from Emma Donoghue?s Kissing the Witch, a collection of deconstructed and reassembled fairy tales. As a FYSI course, the core emphasis of this class will be developing writing skills in preparation for FYSII courses and other writing assignments across SAIC?s curriculum. Students will engage in comprehensive discussion of these readings, conduct related research, and write response and analytical essays, with a final project that incorporates a creative component
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| FYS I: Subversive Literature | 1001 (030) | Mika Yamamoto | Mon
6:45 PM - 9:30 PM In Person |
Description
Literature can either support or subvert dominant narratives, and in this class, we discuss how literature does the latter. We begin the course by naming dominant narratives that are pervasive in the world and how these narratives impact the lived lives of people, including ourselves. This helps us understand why a writer might choose to write something that attempts to counter them, and think about their work in context. We examine how literary tools can, at times, be used to undo what it was intended to build. Some writers we might read are: Susan Steinberg, Priya Parker, Maddie Reardon, Vu Tran, Esme Waijun Wang, Isabel Garcia-Gonsalez, Cathy Park Hong, Chin Chin, Peter Ho Davies, and C.Pam Zhang. In this class, we prioritize community, compassion, and vulnerability. We are committed to showing up generously and bravely. FYS I is an intensive writing course that prepares students for FYS II and other Liberal Arts courses. In class, we will engage deeply with course materials in productive discussions that will foster critical thinking and inform student writing. In addition to weekly homework assignments and in-class writing, students can expect to compose and revise 15-20 pages of formal writing through a process approach to hone their argumentative skills and build their confidence in expressing their ideas clearly and effectively.
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| FYS I: The Sea | 1001 (031) | Kate Lechler | Fri
3:30 PM - 6:15 PM In Person |
Description
The oldest art depicting boats was created 40,000 years ago. For just as long, the sea¿barrier, connector, nurturer, destroyer¿has fascinated artists and authors. Its sound calms us; its mystery thrills us; its strength terrifies us. This course will focus on texts that span a variety of nations, languages, time periods, genres, and mediums, all of which explore the collective human experience of the sea. What voices does the ocean use to speak to us, and what does it say? In response to these questions, we¿ll read texts by Herman Melville, Rivers Solomon, and Homer; examine ancient myth and Lovecraftian mythos; view illustration and animation by Trungles and Hayao Miyazaki; and listen to sea shanties, Debussy, and clipping. As a First Year Seminar I course, the essay writing focus of this class will be to develop and build skills in writing response and analytical essays related to assigned readings, research, and class discussion. Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing in addition to homework exercises and in-class writing. This writing will take the form of two essays with multiple drafts based on instructor and peer workshop feedback.
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| FYS I:Death and Life | 1001 (032) | Herman Stark | Tues
3:30 PM - 6:15 PM In Person |
Description
This course emphasizes, in keeping with First Year Seminar I courses in general, student writing and rewriting. Students will achieve both content and form for their writing by a close reading of texts and critical thinking about them, and then by considered review of feedback from the other seminar members. As is normal in seminars, student presentations occupy a significant amount of class time. In particular, this course confronts death, along with related phenomena such as aging, dying, grieving, and bereavement, in both interdisciplinary and intercultural manners. The direction of study will move from death as a biomedical event thru religious, spiritual, and existential events, and conclude with postmodern possibilities such as cryonics and mind-uploading. A key concern is whether, and to what extent, one?s attitude and approach to death informs one?s attitude and approach to life. The course utilizes various classical and contemporary texts to help expand and enrich our understanding, and each week students will provide thoughtful and polished reports on the assigned readings from them. By the end of the semester students will have written 15-20 pages of formal, revised writing in the form of weekly seminar reports, a midterm paper, and a final paper.
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| FYS I:Adol and Anthro of Magic | 1001 (033) | Christine M Malcom | Thurs
3:30 PM - 6:15 PM In Person |
Description
Adolescents feature prominently in culture stories and myths the world over, as well as in contemporary fantasy and science fiction. Anthropologically, adolescents are potentially powerful agents of change because they are imperfectly socialized and not yet tied to conservative adult roles. In this course we will examine the power and potential of adolescence through classic and contemporary anthropological works as well as the writing of authors including Terry Pratchett, Diana Wynne Jones, and Garth Nix.
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| FYS I: Asian American Poetry | 1001 (034) | Suman Chhabra | Mon
12:15 PM - 3:00 PM In Person |
Description
In our class we will read recently released poetry by Asian American authors. The poems and poetry collections are written by individuals who are amongst the multitude of identities known as Asian American. Readings often include works by Jenny Xie, Ocean Vuong, and Rajiv Mohabir. 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. FYS I develops college-level writing skills, prepares one for FYS II and upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing.
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| FYS I:Irish Literature | 1001 (035) | Eileen Favorite | Wed
12:15 PM - 3:00 PM In Person |
Description
This course first explores the myths and folktales of pre-Christian Ireland. We read about dolmen and druids, Maeve, Queen of Connacht, Finn MacCool, Deirdre, and Cuichulain. How do battle-hungry, sexually-charged Celts compare to characters in James Joyce's Dubliners' Historical texts (including How the Irish Saved Civilization by Thomas Cahill) examine how the status of women changed after the arrival of Roman (vs. Celtic) Catholicism, the Book of Kells, and the long-term effects of the Great Famine on the Irish character. Contemporary fiction writers studied include, W.B. Yeats, Eavan Boland, Rosemary Mahoney, and postmodern favorite Flann O'Brien, among others, with a focus on the influence of Celtic myths on contemporary Irish life and writing.
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| FYS I:Writing About Art | 1001 (036) | Fred Camper | Tues
3:30 PM - 6:15 PM In Person |
Description
This is a writing course, with the goals of helping you write excellent basic English and developing your skills in presenting arguments, using careful observations of art works and careful readings of writings on art. Reading is one way of improving your writing, and we will study essays almost entirely by artists, likely including photographers (Paul Strand and Edward Weston), painters (Gerhard Richter and Agnes Martin), sculptors (Constantin Brancusi), filmmakers (Dziga Vertov and Maya Deren), architects (Louis Sullivan), and conceptual artists (Barbara Kruger and Jenny Holzer). We will view art by the artists whose work we consider, and discuss both how their written statements connect with their work and the larger problem of using writing to describe and interpret visual art. There will be short assignments on the writing and work of the artists we consider, and one assignment in which you write an artist's statement, either for the work you are now making or for the work you hope to make. There will also be a research paper on an artist of your choice with the instructor's approval, in which you argue a thesis about that artist's work. Each of these assignments will also be revised based on the instructor's comments, and the minimum length of all together will be at least 7,500 words.
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| FYS I: Self-Portraiture & Society | 1001 (037) | Nat Holtzmann | Tues
3:30 PM - 6:15 PM In Person |
Description
The terms ¿self¿ and ¿portrait¿ are so ubiquitous that they often go underexamined. This class invites students to consider the ¿self¿ on a philosophical level, and to feel out the complex, blurry parameters distinguishing a portrait an artist makes of another from a self-portrait. The historical contexts within which various self-portraits in 20th century art and literature were produced will inform our inquiries into how society shapes the ways we think about/represent our 'selves' and vice versa. These will include artworks by Claude Cahun, Beauford Delaney, Catherine Opie, and Marisol, as well as texts by Joe Brainard, Michelle Tea, Edouard Levé, Nathalie Léger, and contemporary literary critics. Selections from diaries of artists and writers will also feed our interests, including those of Frida Kahlo, Eva Hesse, Franz Kafka, Audre Lorde, and David Wojnarowicz. Finally, we will interrogate the ethics and implications of self-portraiture today, in a culture glutted with them to an unprecedented degree. What does it say about our ability to register and respond to the present moment¿one shaped by large structures and forces¿that our art and literature often operate at the scale of the individual self? FYS I courses develop college-level writing skills and prepare students for FYS II and upper-level Liberal Arts courses. In this process-oriented class, students will build such skills through 15-20 pages of formal, revisable writing (two multi-draft essays) in addition to preparatory homework assignments and in-class writing. Work will be undertaken independently and collaboratively through self-assessment, guided workshops, and peer review.
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| FYS I:Writing About Film | 1001 (038) | Fred Camper | Fri
3:30 PM - 6:15 PM In Person |
Description
FYS I:Writing About Film
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| FYS I:Bird Talk | 1001 (039) | Joanna Anos | Wed
12:15 PM - 3:00 PM In Person |
Description
Bird talk is talk about birds, about flight and flying, migration, metamorphosis, and song; about bird-beings and human beings, who want to be birds or, at least, bird-like, and about artists whose art is avian inspired. Readings for this writing course include essays and a selection of myths, tales, and poems; visual texts include bird-art at the Art Institute. Students write and revise several essays, including a comparative textual analysis and a verbal-visual ¿field guide¿ of their own design.
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| Issues in Modern and Contemporary Art | 1002 (001) | Thurs
3:30 PM - 6:15 PM In Person |
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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. |
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| FYSe: Photography and Truth | 1002 (001) | Jennie Berner | Fri
12:15 PM - 3:00 PM In Person |
Description
Photography can count as a forensic technology, a form of official identification, a documentary record, and a means of surveillance. Yet photographs can also be deceptive, particularly in our age of digital manipulation. In this writing-intensive course, we will examine the circumstances under which photography is treated as art and/or evidence. Readings will cover a range of subtopics from social media & selfies to political photography, from advertising & Photoshop to family albums. Writing assignments ? totaling 15-20 pages over the course of the semester ? will emphasize analysis, argument, research, revision, and other academic writing skills.
PrerequisitesMust complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011) |
Class Number |
Credits |
DepartmentLocation |
| Issues in Modern and Contemporary Art | 1002 (002) | Weronika Malek-Lubawski | 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 |
Credits |
DepartmentLocation |
| Illustration Technologies Lab | 1002 (002) | Kimberly Karen Viviano | Tues
3:30 PM - 4:45 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.
Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Issues in Modern and Contemporary Art | 1002 (003) | Josh L. Gomez | 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 |
Credits |
DepartmentLocation |
| Illustration Technologies Lab | 1002 (003) | Kimberly Karen Viviano | Tues
5:00 PM - 6:15 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.
Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (004) | Kimberly Karen Viviano | Wed
6:45 PM - 8:00 PM All Online |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.
Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (005) | Kimberly Karen Viviano | Wed
8:15 PM - 9:30 PM All Online |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program.
Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (006) | 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. PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (007) | 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. PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| First Year Seminar Enhanced (EIS) | 1003 (001) | Diane Worobec-Serratos | Wed
8:30 AM - 11:15 AM In Person |
Description
FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected.
PrerequisitesMust complete English Fluency I (EIS 1021) |
Class Number |
Credits |
DepartmentLocation |
| Potting for Pleasure and Protest | 1005 (001) | Javier Jasso | Mon/Wed
6:45 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 |
Credits |
DepartmentArea of StudyLocation |
| FYS II: Come to Your Senses | 1005 (001) | Matilda Stubbs | Tues
8:30 AM - 11:15 AM 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.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Writing for Art | 1005 (002) | Kerry Balden | Thurs
8:30 AM - 11:15 AM In Person |
Description
FYS II further develops the skills learned in FYS I, with specific attention to writing for readers. Throughout, students will learn, practice, and analyze principles of writing such as argument, introductions, conclusions, and more. But all of this with a view to motivating and convincing particular readerships. After several introductory weeks of finding and reading pieces from your fields of interest, we begin short written assignments that focus on a certain writing principle of the week. By the third or fourth week, each student will have selected a research topic that they will focus on for the remainder of the course. Those who do not already have some notion of a topic beforehand will be supported with suggestions of artists, critics, and movements across the far-reaching areas of study at SAIC. Students can expect most class days to be divided into three parts: peer analyses of the previous week's writing, lecture and exercise on a new principle of writing, and in-class time for writing and research. The course depends on and flourishes from the peer analyses, and the samples of writing that students find in their fields of interest. From these, students experience how, as a reader, it is to read both the better and the worse, and how to improve from the latter to the former: Writing is a process, to which revising for readers is essential. The variety of topics, techniques, styles, and discourse communities provide the opportunity not only to become well-versed in your particular field of interest, but competent to discuss and critique other fields, whether adjacent or otherwise. From week to week, the written assignments become slightly longer, with students writing in total 20 pages of formal, revisable writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Our Cultural Archive | 1005 (003) | Terri Griffith | Mon
12:15 PM - 3:00 PM In Person |
Description
Allusion, reference, sample, quote¿These words are often used when discussing art, music, and literature. But what do they really mean? Although sampling is a term specific to contemporary music, using existing works to create new ones is not a new idea. Through reading, writing essays, and a final research paper and presentation, students will probe the meanings of these words in relationship to their own work, while exploring the ways in which artists, musicians, and writers have mined our cultural archive.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Ethics and the Environment | 1005 (004) | David B. Johnson | Tues
8:30 AM - 11:15 AM In Person |
Description
In this writing-intensive course, students will work to improve their writing skills through an exploration of environmental ethics, the branch of thought devoted to understanding what makes the nonhuman world valuable, how we human beings should conceive of our relation to and role within that world, and what obligations we owe to the beings that populate it. After a brief introduction to philosophical ethics in general, we will study several texts outlining some of the major approaches to environmental ethics, including anthropocentrism, biocentric egalitarianism, and ecofeminism. These readings will be drawn from a range of disciplines, historical eras, and cultural sources. Students will have the opportunity to explore topics of further interest in the field of environmental ethics through their written work, which will make up the bulk of their coursework and will comprise two major essays, amounting to between 20 to 25 pages of formal, revisable writing. Students will also complete several short homework assignments and in-class writing exercises. The overarching goal of the course is to deepen students¿ understanding of and facility with the standards and rigors of evidence-based argumentation and analysis.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Generative Art: The Future of Creativity? | 1005 (005) | Aaron Greenberg | Fri
12:15 PM - 3:00 PM In Person |
Description
Generative art, resulting from creative practices involving automation and artificial intelligence, has existed for decades if not centuries. Already in 1970, the School of the Art Institute of Chicago created a department called Generative Systems to study and experiment with art practices harnessing new technologies. Still, with the recent release of powerful text-to-image generators and natural language processors, many are celebrating, dreading, and warning of a brave new world where machines can automatically create ¿art¿ which once would have required countless hours of human labor, experience, and courage. ¿We¿re Witnessing the Birth of a New Artistic Medium,¿ reported The Atlantic in September 2022. In November, The Guardian asked, ¿When AI can make art ¿ what does it mean for creativity?¿ Artists were understandably outraged when an AI-generated artwork, Théâtre D'opéra Spatial won first place for digital art in the Colorado State Fair¿s fine arts competition. Together we¿ll experiment at the intersection of technology and art, exploring what it means to make art when algorithms can automate parts of the creative process. Whether you believe that auto-generative AI democratizes or dehumanizes artistic creation, rather than dismiss or fight an inevitable future of auto-generative artificial intelligence in art, we¿ll discover how emergent technologies can enhance human creativity and promote humane artistic practices. FYS II develops college-level writing skills, preparing students for upper-level Liberal Arts courses. Students will create original research (and textual art) around topics including authenticity, mimesis, copyright, autonomy, automation, (non)human creativity, and the evolving markets for artistic work. We¿ll develop and refine the writing skills learned in FYS I while experimenting with generative writing and research methods. Students will leave this course with a portfolio of original, publishable writing, as well as a foundational grasp of the history and futures of generative art. Readings and screenings may vary but will focus on pioneers in the creation, curation, and market of generative art. Some of the scholars and artists we will engage with in this course include Sonia Landy Sheridan, Georg Nees, Frieder Nake, Vera Molnár, Margaret Boden, and Francesca Franco. Students will create 20-25 pages of formal, revisable, and publishable writing across three short essays and two in-depth revisions. Students will also learn to write a research paper, using scholarly constraints to enhance creativity.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Philosophy and/of Love | 1005 (006) | Guy Elgat | Tues
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.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Dreamers, Utopians, and Mystics | 1005 (007) | Irina Ruvinsky | Tues
8:30 AM - 11:15 AM In Person |
Description
This course explores the literary genre of fantasy, including the subgenre of science fiction. Through the lenses of Russian literature and film we will investigate fantastic¿s sister genres: ¿the uncanny¿ or ¿the marvelous.¿ We will examine how classical Russian writers and cinematographers, ranging from Gogol, Nabkov, Bulgakov to Tarkovsky, engaged with the fantastic, the supernatural and developments in science and technology. We will study how political ideology and resistance helped shape Russian fantasies and fears in the 20th and 21st centuries in literature and film. Students will be expected to write 3 persuasive papers, 6-7 pages each, aimed to develop persuasive, analytical and critical thinking skills.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Fiction, Falsehood, & Artistic Form | 1005 (008) | Stephen Williams | Fri
12:15 PM - 3:00 PM In Person |
Description
Where is the line between a work of art and 'real life,' and what happens¿aesthetically, ethically, politically¿when artists and writers question, blur, subvert, or conceal it? To what extent is an author part of the fiction they create? What is 'true' in a fictional or virtual world, and who decides? Though these questions¿implicit in any kind of aesthetic figuration¿are as old as art itself, they have taken on a particular urgency as mistrust and disinformation¿and the technologies that enable them¿increasingly pervade our lives. The course, then, takes these issues as a focal point as students build upon the foundational writing skills they began learning in FYS I, introducing more rigorous argumentation and research. Among the topics we might consider are the concepts of the persona, the shibboleth, and the 'fourth wall'; trompe-l'oeil painting; the poems of Ossian; Fernando Pessoa's heteronyms; Borges's Pierre Menard; Brecht's 'alienation effects'; pseudonyms (as a means of personal liberation, as a response to oppression); camp (in its emphasis on artifice over naturalism); forgeries and disputed attributions; NFTs and Artificial Intelligence. Students will produce 20-25 pages of formal, revisable writing, as well as informal at-home and in-class assignments. The course involves extensive peer review and collaborative work, and culminates in a research paper on a topic of the student's choosing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| FYS II: Politics and Poetry | 1005 (009) | Suman Chhabra | Thurs
12:15 PM - 3:00 PM 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, Rajiv Mohabir, and Don Mee Choi. In our FYS II class, we will develop our critical reading, writing, and thinking skills. This is a studio writing class focusing on writing as a process that includes freewriting, formulating conceptual questions for the readings, writing responses, and composing and revising 20-25 pages in multidraft essays. Students will direct the topic of the final essay based on their individual inquiry and research. FYS II develops college-level writing skills, prepares one for upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing.
PrerequisitesPrerequisite: ENGLISH 1001. |
Class Number |
Credits |
DepartmentLocation |
| Focus on the Ceramic 3D printer | 1008 (001) | Mark N. Stafford | Mon
9:00 AM - 3:00 PM In Person |
Description
This class is an introduction to clay and technology unique to ceramics. This class is recommended for first year students. In this class we will begin to bring technology and clay together. This class will give you the fundamentals to continue your investigations into printing with clay. There is no required experience in 3d modeling to take this course. In this class objects will be created using Rhino from its commands such as Repeat, Rotation, Spin, Revolve, Round, Unroll, Unfold, Open, Line.. These pieces created virtually will be translated to reality via the Potterbot at SAIC in the Ceramics department. We will also look at rudimentary ways that we can be inventive and mimic the 3d printer at home with basic materials to create objects. We will look at artists working both in traditional and non-traditional methods. Discussion about the virtual and physical space will be a topic that will be discussed and how to negotiate that space as an artist. Artists will include but are not limited to: Tom Lauerman, Michael Eden, Stacy Jo Scott, Brian Boldon, Oliver Van Herpt, Slip Rabbit Studio, UNFOLD, Jonathan Keep. We will have weekly reading and articles covering topics related to ceramics and the digital, the history of the vessel and how the digital is seen in the contemporary art and design arena. Specific authors may be Jenni Sorkin, Okakura Kakuzo and Edmund de Waal.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Fashion, Body, and Garment | 1010 (001) | Kylee Marisa Alexander | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This is an introductory look into fashion. Students will explore basic design skills
and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Core Studio Practice I | 1010 (001) | David Lozano, Mikey Peterson | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (001) | David Lozano, Mikey Peterson | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Fashion, Body, and Garment | 1010 (002) | Bambi Deidre Breakstone | Tues
3:30 PM - 9:15 PM In Person |
Description
This is an introductory look into fashion. Students will explore basic design skills
and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Core Studio Practice I | 1010 (002) | Alison Ruttan, Laura Davis | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (002) | Alison Ruttan, Laura Davis | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (003) | Claire Fleming Staples, Christine Anne Shallenberg | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (003) | Claire Fleming Staples, Christine Anne Shallenberg | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Fashion, Body, and Garment | 1010 (003) | Anna L Brown | Wed
9:00 AM - 3:00 PM In Person |
Description
This is an introductory look into fashion. Students will explore basic design skills
and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Core Studio Practice I | 1010 (004) | Assaf Evron, Troy Daniel Briggs | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (004) | Assaf Evron, Troy Daniel Briggs | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Fashion, Body, and Garment | 1010 (004) | Kylee Marisa Alexander | Thurs
3:30 PM - 9:15 PM In Person |
Description
This is an introductory look into fashion. Students will explore basic design skills
and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Fashion, Body, and Garment | 1010 (005) | Kristin Mariani | Thurs
9:00 AM - 3:00 PM In Person |
Description
This is an introductory look into fashion. Students will explore basic design skills
and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Core Studio Practice I | 1010 (005) | Stevie Hanley, Eden Yono | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (005) | Stevie Hanley, Eden Yono | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Fashion, Body, and Garment | 1010 (006) | Caroline Marie Bellios | 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 |
Credits |
DepartmentArea of StudyLocation |
| Core Studio Practice I | 1010 (006) | Pablo R Garcia, Rachel Niffenegger | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (006) | Pablo R Garcia, Rachel Niffenegger | Tues, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (007) | Pablo R Garcia, Loretta Bourque | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (007) | Pablo R Garcia, Loretta Bourque | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (008) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (008) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (009) | Susan Giles, AJ McClenon | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (009) | Susan Giles, AJ McClenon | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (010) | Maria Gaspar, Rosalynn Gingerich | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (010) | Maria Gaspar, Rosalynn Gingerich | Wed, Wed
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (011) | John Henley, Hope Roberts Esser | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (011) | John Henley, Hope Roberts Esser | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (012) | Joseph David Belknap, Sarah Jean Belknap | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (012) | Joseph David Belknap, Sarah Jean Belknap | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (013) | Rebecca Beachy, Benjamin Melamed Pearson | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (013) | Rebecca Beachy, Benjamin Melamed Pearson | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (014) | Delano Dunn, Steve Amos | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (014) | Delano Dunn, Steve Amos | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (015) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (015) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (016) | John Henley, Hope Roberts Esser | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (016) | John Henley, Hope Roberts Esser | Fri, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (017) | Kris Derek Hechevarria, Ruby Que | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (017) | Kris Derek Hechevarria, Ruby Que | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (018) | Kitty Rauth, Maria Burundarena | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (018) | Kitty Rauth, Maria Burundarena | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (019) | Kris Derek Hechevarria, Cheryl Virginia Pope | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (019) | Kris Derek Hechevarria, Cheryl Virginia Pope | Thurs, Thurs
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.
In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (020) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I | 1010 (020) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Foundations Writing Workshop | 1011 (001) | Jacob A Hinkson | Thurs
8:30 AM - 11:15 AM In Person |
Description
The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.
|
Class Number |
Credits |
DepartmentLocation |
| Foundations Writing Workshop | 1011 (002) | Alexander W Jochaniewicz | 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 |
Credits |
DepartmentLocation |
| Foundations Writing Workshop | 1011 (003) | Peter Thomas | Mon
8:30 AM - 11:15 AM In Person |
Description
The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.
|
Class Number |
Credits |
DepartmentLocation |
| Foundations Writing Workshop | 1011 (004) | Suzanne Scanlon | Wed
8:30 AM - 11:15 AM In Person |
Description
The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.
|
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (001) | Julietta Cheung | Mon
9:00 AM - 3:00 PM In Person |
Description
Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (002) | Laura Davis | Tues
9:00 AM - 3:00 PM In Person |
Description
Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (003) | Assaf Evron | Wed
9:00 AM - 3:00 PM In Person |
Description
Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (004) | Sara Prado | Thurs
9:00 AM - 3:00 PM In Person |
Description
Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (005) | Anna Laure Kielman | Fri
9:00 AM - 3:00 PM In Person |
Description
Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Core Studio Practice I: Transfers | 1012 (006) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Ceramic Sculpture | 1014 (001) | Sonja Henderson | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course is a concentrated examination of ceramic construction and firing processes, clay and glaze materials, and use of equipment to produce ceramic sculpture. This is essential as a fast track entry into competent and independent use of the department for students new to ceramics. Students broaden their skills and gain a more thorough understanding of material characteristics and processes, develop their firing skills, and participate in a dialogue about theory and content specific to ceramic sculpture. The course format includes weekly demonstrations and lectures while developing a body of personal work utilizing ceramic technology. It is required that this, or another Materials and Processes course is taken before or concurrently with any other ceramics course.
|
Class Number |
Credits |
DepartmentLocation |
| Survey of Design History: Between Object and Ephemera | 1015 (001) | Lara Allison | Thurs
12:15 PM - 3:00 PM In Person |
Description
This lecture course grounds students in basic critical themes in the history of design and design objects. Through lectures, demonstrations, and readings students study the material and discursive conditions of the history of design.
Through lecture, readings, discussions, and museum visits, the class highlights a broad range of objects and formats in graphic design, object design, fashion design, and architectural design. Course works includes object analysis assignments, short research paper, and mid-term and final exams. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (001) | Odette Stout | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (002) | Lora Lode | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (003) | Alberto Aguilar | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (004) | Stevie Hanley | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (005) | Joshua Rios | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (006) | Claire Ashley | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (007) | Delano Dunn | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (008) | Steven Heyman | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (009) | James Paul Wetzel | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (010) | Brian Sikes | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (011) | Amy Vogel | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (012) | Julietta Cheung | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (013) | Elena Ailes | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (014) | Holly Holmes | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (015) | Delano Dunn | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (016) | Susan Giles | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (017) | Ginger Krebs | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (018) | Troy Daniel Briggs | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (019) | Alex Cohen | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (020) | Amy Vogel | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (021) | Loretta Bourque | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (022) | Peter Jorge Fagundo | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (023) | Sungjae Lee | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (024) | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (025) | Armando Román | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (026) | Isaac Vazquez | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (027) | Sarah Bastress | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (028) | Parinda Mai | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (029) | Yoonshin Park | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (030) | Pablo Enrique Monterrubio-Benet | 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (031) | Eliza Fernand | Thurs
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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (032) | Regin Igloria | Thurs
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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (033) | Laleh Motlagh | Thurs
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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (034) | Kayla Anderson | Thurs
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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (035) | Corey Smith | Mon/Wed
6:45 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (036) | Evan Fusco | Mon/Wed
6:45 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (037) | Mathew Wilson | Mon/Wed
6:45 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (038) | Emily Eddy | Mon/Wed
6:45 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (039) | Paola Cabal | Mon/Wed
6:45 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I | 1020 (040) | Shir Ende | Mon/Wed
6:45 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. PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: English Language Fluency | 1021 (001) | Aram Han Sifuentes | Thurs
3:30 PM - 6:15 PM In Person |
Description
This is the first of two English language fluency courses for students who do not speak English as their first language. Students improve their academic English skills by reading and responding to art appreciation and art history texts. Texts are analyzed for formal as well as contextual information. Students learn how to integrate their own observations and knowledge with information gained from reading and lecture. Students also build competence and confidence in college-level writing. Topics include formal analyses and/or critical responses to works of art. Presentations and class discussions also give students practice communicating their knowledge through speaking.
|
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (001) | Steven Heyman | Mon
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (002) | Benjamin Melamed Pearson | Mon
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: English Language Fluency | 1021 (003) | Nat Holtzmann | 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 |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (003) | David Lozano | Tues
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: English Language Fluency | 1021 (004) | Deborah S. Hochgesang | 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 |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (004) | Tom Burtonwood | Tues
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (005) | Alison Ruttan | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (006) | Maria Gaspar | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (007) | Michelle Bolinger | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (008) | David Lozano | 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. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio I: Transfers | 1021 (009) | Larry Lee | Tues
3:30 PM - 9:15 PM In Person |
Description
In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.
Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. PrerequisitesOpen to Incoming Transfer Students Only |
Class Number |
Credits |
DepartmentLocation |
| Research Studio II | 1022 (003) | Loretta Bourque | Thurs
9:00 AM - 3:00 PM In Person |
Description
The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities.
This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| Research Studio II | 1022 (004) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities.
This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. PrerequisitesPrerequisite: CP/FIRYR 1020. |
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Critique | 1031 (001) | Annette Elliot-Hogg | Thurs
12:15 PM - 3:00 PM 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 |
Credits |
DepartmentLocation |
| English for International Students: Critique | 1031 (002) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Critique | 1031 (004) | Erica R. Mott | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (001) | Annette Elliot-Hogg | Mon
9:45 AM - 11:15 AM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (002) | Annette Elliot-Hogg | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (003) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (004) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (005) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (006) | Annette Elliot-Hogg | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (007) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (008) | Suman Chhabra | Wed
9:45 AM - 11:15 AM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (009) | Aram Han Sifuentes | Fri
9:45 AM - 11:15 AM In Person |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (010) | Aram Han Sifuentes | Thurs
6:45 PM - 8:15 PM All Online |
Description
This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.
|
Class Number |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (011) | Suman Chhabra | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (012) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (013) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (020) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (021) | 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 |
Credits |
DepartmentLocation |
| English for International Students: Tutorial | 1035 (022) | 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 |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 1101 (001) | 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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Printmedia Practices | 1101 (001) | Jasper Goodrich | Tues
9:00 AM - 3:00 PM In Person |
Description
How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs.
Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Performance | 1101 (001) | Erica R. Mott | Tues
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.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 1101 (002) | Jefferson Pinder | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Printmedia Practices | 1101 (002) | Frances Lightbound | Tues
9:00 AM - 3:00 PM In Person |
Description
How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs.
Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 1101 (003) | Nyeema Morgan | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Printmedia Practices | 1101 (003) | 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 |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 1101 (004) | Nelly Agassi | 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.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Discussion Section for Advanced Survey of World Art Prehistory to 1850 | 1101 (01S) | Tues
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. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.
PrerequisitesConcurrent enrollment in ARTHI 1001 Scholars Section required. |
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of World Art Prehistory to 1850 | 1101 (02S) | 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. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.
PrerequisitesConcurrent enrollment in ARTHI 1001 Scholars Section required. |
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of World Art Prehistory to 1850 | 1101 (03S) | 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. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.
PrerequisitesConcurrent enrollment in ARTHI 1001 Scholars Section required. |
Class Number |
Credits |
DepartmentLocation |
| Discussion Section for Advanced Survey of World Art Prehistory to 1850 | 1101 (04S) | Wed
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. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.
PrerequisitesConcurrent enrollment in ARTHI 1001 Scholars Section required. |
Class Number |
Credits |
DepartmentLocation |
| Intro to Writing as Art | 1102 (001) | Jenny Magnus | Thurs
6:45 PM - 9:30 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 |
Credits |
DepartmentLocation |
| Intro to Writing as Art | 1102 (002) | Kathie Bergquist | Wed
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 |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (001) | James Connolly, Eric Fleischauer | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (001) | James Connolly, Eric Fleischauer | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (001) | Sofía Fernández Díaz | Mon
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses. |
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (002) | Eric Fleischauer, Kera MacKenzie | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (002) | Eric Fleischauer, Kera MacKenzie | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (002) | Stacia Laura Yeapanis | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses. |
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (003) | Mikey Peterson, Daniele Wilmouth | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (003) | Mikey Peterson, Daniele Wilmouth | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (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 |
Credits |
DepartmentLocation |
| Introduction To Fiber/Material Studies | 2000 (004) | Melissa Leandro | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses. |
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (005) | Paige Taul, Thomas Comerford | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (005) | Paige Taul, Thomas Comerford | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction To Fiber/Material Studies | 2000 (005) | Teri Carson | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses. |
Class Number |
Credits |
DepartmentLocation |
| Media Practices: The Moving Image | 2000 (006) | Asya Dubrovina, Paige Taul | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Media Practices: The Moving Image | 2000 (006) | Asya Dubrovina, Paige Taul | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.
Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Construction I | 2001 (001) | Isaac Couch | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Survey of Literature I: Medieval to Emily Dickinso | 2001 (001) | Irina Ruvinsky | Thurs
8:30 AM - 11:15 AM In Person |
Description
This literature survey examines a great variety of material from the period, giving students a broad sense of the history of literature in English. Readings include some combination of poems, plays, essays, prose narratives, sermons, satires, and letters, by writers ranging from anonymous ballad makers to popular novelists. We will read a range of writers, from stalwarts of the English tradition like Chaucer, Shakespeare, Milton, Wordsworth, Austen, and Keats to Americans Frederick Douglass, Walt Whitman, and Emily Dickinson, to other lesser-known figures.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Spanish I | 2001 (001) | Sabra Duarte | Thurs
3:30 PM - 6:15 PM In Person |
Description
An introductory course in reading, writing, and conversational Spanish.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Architecture Foundation Studio | 2001 (001) | Marya Demetra Kanakis | Mon/Thurs
9:00 AM - 3:00 PM In Person |
Description
This 6-credit (two day) design studio teaches foundational concepts and skills of architectural design through a series of exercises culminating in a design proposal. Students practice skills of orthographic drawing and model-making in an iterative process to develop and convey ideas through the medium of architectural design. In addition to architectural design, course work includes exercises in architectural research; on-site analysis and community engagement; and precedent study; and concludes with a final presentation. At the conclusion of the semester, students participate in the Portfolio Review, a presentation and critique of student portfolios organized by faculty and students in the department's critique spaces. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the department template including Rhino and Revit.
|
Class Number |
Credits |
DepartmentLocation |
| Issues in Visual Critical Studies | 2001 (001) | Kristi Ann McGuire | Tues
3:30 PM - 6:15 PM In Person |
Description
This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Graphic Design | 2001 (001) | Mary Krysinski | Tues
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding.
Students will produce 3-4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 2001 (001) | Stephen Reber | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Issues in Visual Critical Studies | 2001 (001) | Kristi Ann McGuire | Tues
3:30 PM - 6:15 PM In Person |
Description
This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sound Practices | 2001 (001) | Eric Leonardson | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department's upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of 'sound art' and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject.
Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors' preferences. Readings are similarly set according to the instructors' syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student's own computers and recordings), but the emphasis is on mastering the studio. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Practice | 2001 (001) | Rush Baker IV | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (002) | Larissa Setareh Borteh | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Construction I | 2001 (002) | Janet Kang | Tues
3:30 PM - 9:15 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Spanish I | 2001 (002) | Sabra Duarte | Wed
6:45 PM - 9:30 PM In Person |
Description
An introductory course in reading, writing, and conversational Spanish.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Architecture Foundation Studio | 2001 (002) | Jonathan Solomon | Mon/Thurs
9:00 AM - 3:00 PM In Person |
Description
This 6-credit (two day) design studio teaches foundational concepts and skills of architectural design through a series of exercises culminating in a design proposal. Students practice skills of orthographic drawing and model-making in an iterative process to develop and convey ideas through the medium of architectural design. In addition to architectural design, course work includes exercises in architectural research; on-site analysis and community engagement; and precedent study; and concludes with a final presentation. At the conclusion of the semester, students participate in the Portfolio Review, a presentation and critique of student portfolios organized by faculty and students in the department's critique spaces. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the department template including Rhino and Revit.
|
Class Number |
Credits |
DepartmentLocation |
| Beginning Graphic Design | 2001 (002) | Jiwon Son | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding.
Students will produce 3-4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 2001 (002) | Daniel Gordon Baird | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Sound Practices | 2001 (002) | Austen Brown | Tues
9:00 AM - 3:00 PM In Person |
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department's upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of 'sound art' and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject.
Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors' preferences. Readings are similarly set according to the instructors' syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student's own computers and recordings), but the emphasis is on mastering the studio. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sound Practices | 2001 (003) | Bonnie Han Jones | Mon
9:00 AM - 3:00 PM In Person |
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department's upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of 'sound art' and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject.
Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors' preferences. Readings are similarly set according to the instructors' syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student's own computers and recordings), but the emphasis is on mastering the studio. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Practice | 2001 (003) | Sebastian Thomas | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Construction I | 2001 (003) | Agnes Hamerlik | Wed
9:00 AM - 3:00 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Beginning Graphic Design | 2001 (003) | Jiwon Son | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding.
Students will produce 3-4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Practice | 2001 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Construction I | 2001 (004) | Janet Kang | Wed
9:00 AM - 3:00 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (005) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Construction I | 2001 (005) | Compton Quashie | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (006) | Peter Jorge Fagundo | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Construction I | 2001 (006) | Pamela Vanderlinde | Mon
9:00 AM - 3:00 PM In Person |
Description
This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (007) | Steven Husby | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (009) | Kaylee Rae Wyant | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (010) | Amanda Joy Calobrisi | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (011) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (012) | Erin Washington | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (013) | 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 |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (014) | Herman Aguirre | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (015) | Dylan Rabe | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (016) | MJ Lounsberry | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (017) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (018) | Noah Rorem | Fri
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (019) | Tues
3:30 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Design I | 2002 (001) | Edgar X. Aguilera | Mon
9:00 AM - 3:00 PM In Person |
Description
Fashion Design I builds the skills and talents required to achieve creative fashion. This class teaches the design fundamentals of the integrated core fashion design curriculum. Students will engage multiple skills to create individual, visionary, unconventional garments, and later, collections. Through a series of projects, students explore form, silhouette, volume, and research in design to arrive at a personal point-of-view in fashion. This course will specifically ask students to work conceptually and to develop research methodologies in their design work. Based on this inquiry, students generate sketches and surface treatments to refine their unique silhouettes and material manipulations. No prerequisite.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Image Studio | 2002 (001) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information.
We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (001) | Johnny Sampson | Mon
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Woven Structure Basics | 2002 (001) | Emily Winter | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to floor loom hand weaving through the study of basic weave structures, woven image techniques and fiber types. Traditional and experimental use of material and technique will be used to explore double weaves, painted warps and a variety of hand-manipulated techniques including tapestry, brocade and inlay.
Students will study the global histories of woven cloth through a variety of readings, presentations, and class discussions. Works by artists such as Diedrick Brackens, Lenore Tawney, and Gunta Stolzl will be discussed as well as writings by thinkers such as Anni Albers, T'ai Smith, Dieter Hoffman-Axthelm as primary points of departure. Students will study basic weaving draft patterns and will complete independent research into artists and techniques of interest. The conceptual and material considerations of contemporary craft-based art will be a major component of this course. Students will produce 2-6 finished weavings over the course of the semester through their exploration and research of a variety of techniques on 4-harness floor looms. |
Class Number |
Credits |
DepartmentLocation |
| Fashion Design I | 2002 (002) | Kristin Mariani | Wed
9:00 AM - 3:00 PM In Person |
Description
Fashion Design I builds the skills and talents required to achieve creative fashion. This class teaches the design fundamentals of the integrated core fashion design curriculum. Students will engage multiple skills to create individual, visionary, unconventional garments, and later, collections. Through a series of projects, students explore form, silhouette, volume, and research in design to arrive at a personal point-of-view in fashion. This course will specifically ask students to work conceptually and to develop research methodologies in their design work. Based on this inquiry, students generate sketches and surface treatments to refine their unique silhouettes and material manipulations. No prerequisite.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Image Studio | 2002 (002) | Donald Pollack | 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. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (002) | Molly Colleen O'Connell | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Etching | 2002 (002) | Eliza Myrie | Fri
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to basic intaglio methods such as drypoint, soft ground, line etch and aqua tint. Use of specific tools and papers is an essential part of the course. Through examples, discussion and demonstrations students will learn to identify and select methods that suit their expressive needs and concepts.
|
Class Number |
Credits |
DepartmentLocation |
| Fashion Design I | 2002 (003) | Anke Loh | Wed
9:00 AM - 3:00 PM In Person |
Description
Fashion Design I builds the skills and talents required to achieve creative fashion. This class teaches the design fundamentals of the integrated core fashion design curriculum. Students will engage multiple skills to create individual, visionary, unconventional garments, and later, collections. Through a series of projects, students explore form, silhouette, volume, and research in design to arrive at a personal point-of-view in fashion. This course will specifically ask students to work conceptually and to develop research methodologies in their design work. Based on this inquiry, students generate sketches and surface treatments to refine their unique silhouettes and material manipulations. No prerequisite.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (003) | Cecilia Beaven | Tues
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Design I | 2002 (004) | Kristin Mariani | Fri
9:00 AM - 3:00 PM In Person |
Description
Fashion Design I builds the skills and talents required to achieve creative fashion. This class teaches the design fundamentals of the integrated core fashion design curriculum. Students will engage multiple skills to create individual, visionary, unconventional garments, and later, collections. Through a series of projects, students explore form, silhouette, volume, and research in design to arrive at a personal point-of-view in fashion. This course will specifically ask students to work conceptually and to develop research methodologies in their design work. Based on this inquiry, students generate sketches and surface treatments to refine their unique silhouettes and material manipulations. No prerequisite.
PrerequisitesStudent must be a freshman or sophomore and have taken Intro to Fashion, Body & Garment |
Class Number |
Credits |
DepartmentLocation |
| Comics | 2002 (004) | Bianca Xunise | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (005) | Johnny Sampson | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: From Basics To Print | 2002 (006) | Sara Varon | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, students will cover the basics of comics from A to Z, with a focus on printed comics. The class will start with technical aspects including drawing materials, composition, dialogue, lettering, panels, and framing. We will then discuss story-writing including character creation, setting, and plot. In the last several weeks, students will create their own 8 page comic, moving from thumbnails to pencils to final art. Finally, students will design a cover (to be printed on the Risograph,) lay out their comic in InDesign, print out multiple copies of their comic, and assemble their own mini-comic.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (008) | 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 |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (009) | Cecilia Beaven | Sat
10:00 AM - 4:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Lithography | 2003 (001) | Jess Giffin | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course students are introduced to stone lithography. Through this planographic printing process it is possible to translate hand-drawn and hand-painted images into multiples and/or multi-color pieces. Emphasis is placed on gaining a thorough understanding of the techniques and principles of lithography through class demonstrations, instruction, individual projects, discussion and critiques.
|
Class Number |
Credits |
DepartmentLocation |
| Color | 2003 (001) | Jo Hormuth | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice.
In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Arabic I | 2003 (001) | Wael Fawzy | Tues
6:45 PM - 9:30 PM In Person |
Description
Arabic I ???? is a fully integrated introductory course for students with no background in the language. The course is designed for beginning students whose learning objectives and needs are in any of the following categories: continued language study, business purposes, or travel. Students will learn to speak and understand Modern Standard Arabic (MSA) and read and write Arabic script. Students will develop speaking and listening skills through audiovisual media, interactive fun activities, and paired dialogue practices. There will be a strong emphasis on oral proficiency needed to provide the necessary framework to communicate clearly and effectively. These objectives will be achieved through the following approaches: speaking, listening, reading, writing, and cultural studies.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Lithography | 2003 (002) | Ayanah Moor | Mon
9:00 AM - 3:00 PM In Person |
Description
In this course students are introduced to stone lithography. Through this planographic printing process it is possible to translate hand-drawn and hand-painted images into multiples and/or multi-color pieces. Emphasis is placed on gaining a thorough understanding of the techniques and principles of lithography through class demonstrations, instruction, individual projects, discussion and critiques.
|
Class Number |
Credits |
DepartmentLocation |
| Color | 2003 (002) | Steven Husby | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice.
In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Print for Fabric and Alternative Materials I | 2004 (001) | Amy Yoes | 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 |
Credits |
DepartmentLocation |
| Beginning Relief Printing | 2004 (001) | Aaron Hughes | Wed
9:00 AM - 3:00 PM In Person |
Description
Students learn traditional and experimental approaches to relief printmaking. Techniques covered are woodcut, linocut, wood engraving, relief etching, monoprints, and other press and hand-printing relief processes.
|
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Relief Printing | 2004 (002) | Jasper Goodrich | Mon
9:00 AM - 3:00 PM In Person |
Description
Students learn traditional and experimental approaches to relief printmaking. Techniques covered are woodcut, linocut, wood engraving, relief etching, monoprints, and other press and hand-printing relief processes.
|
Class Number |
Credits |
DepartmentLocation |
| Form and Meaning | 2004 (002) | Fernando Saldivia Yáñez | Thurs
12:15 PM - 3:00 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. PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Stitch | 2005 (001) | JeeYeun Lee | Wed
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 |
Credits |
DepartmentLocation |
| Beginning Screenprinting | 2005 (001) | Peter Power | Wed
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 |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Throwing: Multilevel | 2005 (001) | Emily Schroeder Willis | Tues
9:00 AM - 3:00 PM In Person |
Description
This multilevel class is for students with or without experience in wheel throwing. Beginning students are introduced to ideas, materials and techniques for throwing vessels. They acquire the necessary skills to construct and analyze a wide range of vessel forms. Intermediate and advanced students continue their individual development of throwing, glazing and firing kilns. Course discussions focus on issues around the vessel to acquire critical understanding of containers and their functions, as well as using the wheel as a means for constructing sculptural forms.
|
Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Woodworking | 2005 (001) | Paul Martin | Wed
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to the fundamental principles and practices of woodworking through lectures, demonstrations, and projects.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sonics and Optics | 2005 (001) | Kioto Aoki | Mon
9:00 AM - 3:00 PM In Person |
Description
Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.
In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project. PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sketching for Designed Objects | 2005 (002) | Hector Silva | Tues
3:30 PM - 9:15 PM In Person |
Description
Course Description
Students will learn to craft design concept sketches that clearly communicate ideas to others. The course focuses on using freehand sketching and rendering to visualize design objects, clarify form and function, and explore ideas quickly. Through exercises in thumbnail sketching, shading, and form development, students build confidence in drawing as a tool for thinking and communication. The course also introduces orthographic projection for precise technical drawings and two-point perspective for understanding objects in space. Who is this course for? Effective sketching is a foundational skill that designers use throughout their careers. Alongside 3D Modeling and Designing Interaction, this course is part of the core skills group in Designed Objects and is intended to support students as they move through the three-course Core Studio sequence. This course is an excellent first Designed Objects class and an accessible entry point into design at SAIC. There are no prerequisites, and students at all levels are welcome. When should this class be taken? This course is recommended in the freshman or sophomore year and works especially well as a student¿s first Designed Objects course. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| French I | 2005 (002) | Elizabeth Chalier-Visuvalingam | Thurs
12:15 PM - 3:00 PM In Person |
Description
An introductory course in reading, writing and conversational French.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Sonics and Optics | 2005 (002) | Daniele Wilmouth | Fri
9:00 AM - 3:00 PM In Person |
Description
Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.
In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project. PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| The Anthropocene | 2006 (001) | Oliver Sann | Wed
8:30 AM - 11:15 AM In Person |
Description
'The Anthropocene' is the name of the new geological epoch, proposing that the human species has become the single most dominant agent of change affecting the Earth's ecosystems. Photography plays in this context a pivotal role and goal of this class is to promote different photographic experiences on land- and cityscapes of the Anthropocene. Collaborative work and access to different material forms, laboratories, analog and digital photographic media as well as scholarship and first-person testimony on health, race, politics and aesthetics, will help generate diverse perspectives on the entangled realities of the world and the complex human-natural systems. Questions of environmental justice and environmental ethics will take center stage in this class.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentLocation |
| Beginning Fashion Illustration | 2007 (001) | Dijana Granov | 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 |
Credits |
DepartmentArea of StudyLocation |
| Beginning Fashion Illustration | 2007 (002) | Donald Yoshida | Wed
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 |
Credits |
DepartmentArea of StudyLocation |
| Chinese I | 2008 (001) | Marie Meiying Jiang | Tues
6:45 PM - 9:30 PM All Online |
Description
Chinese I is designed for beginners who take Chinese as a foreign language. Students who speak Chinese as their native language are not allowed to attend this course. Students who have taken Chinese study in the past are required to take the evaluation test and gain approval of the instructor to enroll.
Students will study the Chinese Mandarin sound system PIN YIN, the basic strokes from the Chinese Calligraphy, Chinese numbers, common Chinese Radicals and Lessons 1-5 of <> (Level 1 Part 1). Students can speak and write systematically more than 150 essential vocabulary words, master the key grammatical structures, build the real-life communicative skills. They will also write and tell a story about themselves and their interests on Chinese paper utilizing 150 characters. PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Mold Making and Casting | 2008 (001) | Stephen Reber | Thurs
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 |
Credits |
DepartmentLocation |
| Chinese I | 2008 (002) | Junming Han | Thurs
6:45 PM - 9:30 PM In Person |
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. PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| German I | 2009 (001) | Kimberly Kenny | Thurs
12:15 PM - 3:00 PM In Person |
Description
An introductory course in reading, writing, and conversational German.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Medium Format | 2009 (001) | Mon
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.
PrerequisitesPrerequisite: 3 credits of PHOTO 1000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Carving | 2009 (001) | Paul Martin | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the basic techniques of subtractive sculpture. Students will be encouraged to develop an innovative body of work within a material based format. A wide range of carving techniques and materials will be introduced. Historical models will provide vocabulary for understanding methodology and ideas. In class presentations will also acquaint students with artists who approach carving within postmodern ideologies. New technologies such as laser cutting will be introduced. A directed and productive approach to studio practice will be cultivated.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Vessel Construction | 2010 (001) | Jonathan Kusnerek | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This course investigates both on and off-wheel construction techniques. It will explore wheel throwing and various hand building techniques such as: extruding, coil, slab, pinch, slump, and press molding-to produce interpretations of the vessel in contemporary society. The vessel as an enclosure of space is the departure point for discussions that include historical references in a contemporary context, the personal metaphor, and the generation of conceptual and aesthetic development beyond the utilitarian format.
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Class Number |
Credits |
DepartmentLocation |
| Creative Process as Art Therapy | 2010 (001) | Katie Kamholz | Tues
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 |
Credits |
DepartmentArea of StudyLocation |
| Color | 2010 (001) | Marzena Abrahamik | Fri
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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Creative Process as Art Therapy | 2010 (002) | 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 |
Credits |
DepartmentArea of StudyLocation |
| Color | 2010 (002) | 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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intro to Games and Immersive Media | 2011 (001) | Kristin McWharter | Fri
9:00 AM - 3:00 PM In Person |
Description
A class to develop games and immersive media experiences that reflect your creative voice. Over 15 weeks, 'Intro to Games and Immersive Media' introduces a broad range of analog and digital game design techniques spanning from table top to virtual reality games. This course introduces students to game-making as a form of artistic practice, teaching foundational techniques and tools to develop analog and digital games that reflect their own creative voice and vision. No previous game-making skills are required, but students with an interest in games, or augmented and virtual reality technologies, will be guided through aesthetic and technical foundations in various aspects of game design and immersive media.
By the end of the semester, students will have created complete games or immersive media artworks ready to present in their portfolio. Readings and screenings will vary but typically include Mary Flanagan, Eric Zimmerman and Katie Salen Tekinbas. Course work will vary but typically includes weekly reading responses, a mid-term, and a group final project. Students can expect to complete several exercises that explore a number of gaming media including working with game engines such as Unity or Unreal, character development and animation and motion capture. Students will complete a final culminating project in the form of a game or immersive media artwork. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (001) | Kate O'Neill | Fri
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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (001) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review.
The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (002) | Jiwon Son | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review.
The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (003) | 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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (003) | Mary Krysinski | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review.
The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (004) | Martha Chiplis | Wed
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review.
The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 20th Century Art Under Dictatorship | 2012 (001) | Weronika Malek-Lubawski | Fri
12:15 PM - 3:00 PM In Person |
Description
This class offers one survey of how artists have responded and adapted to moments of severe political, economic, and social uncertainty. Some, like Albert Speer in Nazi Germany and Antonio Ferro of the Estado Novo in Portugal proudly shaped the images of dictatorial regimes. Others, like Pablo Picasso, created works that spoke to the horrors committed under Francisco Franco of Spain; others, like Malangatana Ngwenya, made drawings while imprisoned and awaiting trial. We will look at a spectrum of artists whose responses to their circumstances vary widely.
Together, we ask: how does one cultivate and protect free expression? How do we historicize art made during moments of crisis, censorship, and severe oppression? Each week, we will concentrate on a particular time and regime within the twentieth century across five continents. We will begin in Ancient Rome to explore the concept of the dictator perpetuo, and will explore one regime per week in the following countries: Brazil, Portugal, Spain, Italy, the Soviet Union, Germany, Cuba, Cambodia, North Korea, China, and Sudan. Texts will primarily consist of primary sources, artist interviews, documentaries and art-historical articles and book chapters. Secondary texts include Mary Beard's 'Twelve Caesars: Images of Power from the Ancient World to the Modern' (2021); Claudia Calirman's 'Brazilian Art Under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles' (2012), and Douglas Gabriel's 'Over the Mountain: Realism Toward Unification in Cold War Korea, 1980-1994' (2019, diss.). Assignments include one 5-page exhibition proposal and one final exam. PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (002) | Kristin J Maksymiw | Thurs
3:30 PM - 4:45 PM In Person |
Description
This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (003) | Kristin J Maksymiw | Thurs
5:00 PM - 6:15 PM In Person |
Description
This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (004) | 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.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sculptural Headwear | 2013 (001) | Eia Radosavljevic | Tues
9:00 AM - 3:00 PM In Person |
Description
The human head, as a moving and turning pedestal, presents continually changing views of headwear. This course covers the classic millinery techniques of hat block carving, straw draping, felt blocking, and couture hand-sewing, in contemporary exploration of 'the hat' as a sculptural form and its relationship to the body.
|
Class Number |
Credits |
DepartmentLocation |
| Relief: Multi-Level | 2014 (001) | Oli Watt | Wed
9:00 AM - 3:00 PM In Person |
Description
In this studio course, students will explore relief printmaking techniques using woodblocks, linoleum, found-objects, foam, monoprints and digital processes. Students will learn how to properly carve, ink, and print blocks in order to create editions as well as experiment with non-traditional formats. Students will be exposed to the rich history of relief printmaking through traditional and contemporary examples, specifically works from AIC and SAIC collections. Returning students will expand upon previous projects and develop new approaches to exploring content and understanding relief techniques.
Students will be exposed to a wide variety of artists from the long and rich history of relief printmaking. We will examine artists who work traditionally within the medium, as well as artists who depend upon contemporary technology to create prints. Some of the artists we will explore in this course include Durer, Hokusai, Masereel, Mendez, Zarina and Baumgartner. Over the course of the semester, students will create 10-20 prints that show an understanding of the various relief techniques demonstrated by the instructor. Students will also participate in a print exchange folio at the end of the course. Projects will be critiqued throughout the semester. |
Class Number |
Credits |
DepartmentLocation |
| Form in Fabric | 2014 (001) | Eia Radosavljevic | Wed
9:00 AM - 3:00 PM In Person |
Description
Giving woven fabrics and alternative flat materials three-dimensional form is key to many sculptural disciplines, most notably headwear design, and garment and fiber works. Beginning with headwear projects as a prime example of self-supported sculptural form, students proceed through a study of methodologies such as pattern drafting, blocking, draping, and carved-form patterning to develop headwear or other objects suiting their individual practice. Assembly is achieved through hand stitching, machine sewing, or innovative techniques appropriate to specific materials. Visual imagery and texts assist in the development of concepts, and the study of interior and exterior space.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Lighting Fundamentals | 2015 (001) | Marzena Abrahamik | Thurs
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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to African Diaspora Art History | 2015 (001) | Eddie Chambers | Mon
12:15 PM - 3:00 PM In Person |
Description
This class will begin with considerations of African Diaspora identity formations and how such formations and histories relate to the broad subject of the class - African Diaspora art history. We will consider the work of a number of leading artists of the African Diaspora, located throughout the world in geographic regions such as the Americas, Europe and artists emerging out of the continent of Africa itself. With African Diaspora art history being such a relatively recent addition to the canon of art history, pretty much all of the artists we look at in this class will be reflective of the modern and contemporary art history periods.
The class will use a variety of texts, most frequently catalogue essays relating to artists of the African Diaspora, many of whom are now established figures in exhibitions and biennales. Artists such as Keith Piper, Rotimi Fani-Kayode, Charles White, Elizabeth Catlett, Sonia Boyce, Isaac Julien and others whose work can be seen as emerging from a confluence of factors including migration, diaspora, history and identity. Our readings will also include texts by art historians and curators who have worked with, or written about, such artists. The texts will demonstrate the extent to which African Diaspora identity formations are often central to nuanced readings of these artists' practices. Students are required to submit one short 'reaction' paper each week, plus a 4-6 page research paper at the end of the semester. The main emphasis of the seminar will be on active class participation and discussion of the artists and their work. PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 3D Embellishment | 2015 (001) | Eia Radosavljevic | Mon
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 |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Experimental 3D | 2015 (001) | Anneli Goeller | Wed
9:00 AM - 3:00 PM In Person |
Description
This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Lighting Fundamentals | 2015 (002) | Sonja Ruth Thomsen | 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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Experimental 3D | 2015 (002) | Marlena Novak | Tues
9:00 AM - 3:00 PM In Person |
Description
This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.
PrerequisitesPrerequisite: FVNM 2000 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Footwear Design | 2016 (001) | James Robert Sommerfeldt | Thurs
3:30 PM - 9:15 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 |
Credits |
DepartmentArea of StudyLocation |
| Manipulated Stitches | 2017 (001) | Sharon Shoji | Mon
9:00 AM - 3:00 PM In Person |
Description
This class is an explorative approach into traditional and non-traditional methods of creating and manipulating surface through texture. Techniques such as knitting, crocheting, stitching and embellishment will provide a language that speaks about shape and form through construction. Demonstrations will encourage students to create concepts that are three-dimensional in form. Using the body as a foundation in a space, garments and objects that are worn or used will be created as individual projects. Offered in the fall semester only.
|
Class Number |
Credits |
DepartmentLocation |
| Artists' Books | 2018 (001) | Anna Laure Kielman | Thurs
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 |
Credits |
DepartmentArea of StudyLocation |
| Artists' Books | 2018 (002) | Myungah Hyon 현명아 | Wed
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 |
Credits |
DepartmentArea of StudyLocation |
| Artists' Books | 2018 (003) | bex ya yolk | Fri
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 |
Credits |
DepartmentArea of StudyLocation |
| Designing Interaction | 2019 (001) | George Guffey | Thurs
3:30 PM - 9:15 PM In Person |
Description
Almost all designed objects and systems involve interaction¿how people understand, navigate, and respond to things over time. This core skills studio, part of the Designed Objects core sequence, introduces students to tools and methods for designing and communicating interactive experiences across physical objects, screen-based interfaces, and virtual environments.
Students learn professional visual communication and prototyping tools used to articulate interaction, including interface prototyping, vector illustration, typography, visual composition, and basic data visualization. These tools support design development and the communication of storyboarded scenarios, user research insights, system flows, and finished proposals for physical and digital experiences. The course introduces industry-standard platforms such as Figma and Adobe Express, alongside core interaction design methods including flow diagrams, wireframes, scenario mapping, and introductory user testing. Emphasis is placed on using these tools as thinking instruments for understanding behavior, feedback, and use over time. Who this course is for: Alongside 3D Modeling and Designing Interaction, this course is part of the Designed Objects core skills group, supporting students as they move through the three-course Core Studio sequence. It is an excellent first Designed Objects class and an accessible entry point into design at SAIC. There are no prerequisites, and students at all levels are welcome. While the course makes use of screen-based tools and interface prototyping software, it is not a web design course. Students primarily interested in designing or building websites should consider courses specifically focused on those areas. When to take it: This course is a required component of the Designed Objects core sequence and is recommended early in the program, ideally alongside or shortly after the first core studio. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art of Crossing the Street | 2020 (001) | Andres Luis Hernandez | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course asks the question, `How can artists cross the street without leaving their art behind?' This class hopes to raise issues of citizenship, creativity, collaboration, community, environment, and the changing roles of artists at the end of the twentieth century and the start of the twenty-first. Students study historical and contemporary examples of how artists have found the time, space, and resources to do and present their work, and how they make alliances with other artists and other communities to achieve professional, cultural, and political goals. Students help plan curricular innovations at SAIC and participate in related activities such as visiting artists programming. They explore the possibility, in part through on-site visits, of establishing or strengthening ties between SAIC and various communities throughout Chicago. Students further develop course themes through substantial written assignments and through applications of these ideas in their studio practice. The goal of the course is to give students the motivation, knowledge, and tools to take an active role as citizens in a multicultural democratic society.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Designed Objects Core Studio 1: Designing for Others | 2020 (001) | Cassandra Scanlon | Mon
3:30 PM - 9:15 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. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Designed Objects Core Studio 1: Designing for Others | 2020 (002) | Annalee Koehn | 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. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Designed Objects Core Studio 1: Designing for Others | 2020 (003) | Jess Giffin | 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. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 20,000 Years of Clay | 2022 (001) | Emily Schroeder Willis | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course covers the history of clay and ceramics from the earliest known ceramic objects dating back more than 20,000 years up to the present. This history course will take us through each continent and look at its use of ceramics in different cultures at different times throughout history. It will help us understand how clay/ceramics have been connected to other elements of art history and have influenced and been influenced by other mediums. We will map how different pottery traditions traversed the globe to guide us on our journey in discovering the rich history of this material. Focus will be given to the role clay and ceramic plays in our human development as ritualistic, artistic, functional, and mass-produced objects. Additionally, we will look at the use of clay and ceramic objects in contemporary art, design, and craft. Each week will be structured with readings helping understand the historical context coupled with a reading that shows its contemporary influence.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentLocation |
| Interfacing with Draping and Pattern Making | 2022 (001) | Tues
9:00 AM - 3:00 PM In Person |
|
Description
This course is an introduction to draping for fashion design and construction. Our focus is on draping blocks, and the creation of slopers; the master patterns of the bodice, skirt, torso, and sleeve from which most designs are developed in flat pattern making.
|
Class Number |
Credits |
DepartmentLocation |
| The Shaping Of The Female Form | 2024 (001) | Liat Smestad | Fri
9:00 AM - 3:00 PM In Person |
Description
This course will trace the use of structured undergarments worn by women from the eighteenth century to the present day as a basis for the design and construction of garments. Both traditional and nontraditional fabrics and materials are explored while conceptual and historic issues are discussed using references within the department's Fashion Resource Center. All final projects are fitted on a model in both muslin and fabric.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art of Crossing the Street | 2027 (001) | Andres Luis Hernandez | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course asks the question, `How can artists cross the street without leaving their art behind?' This class hopes to raise issues of citizenship, creativity, collaboration, community, environment, and the changing roles of artists at the end of the twentieth century and the start of the twenty-first. Students study historical and contemporary examples of how artists have found the time, space, and resources to do and present their work, and how they make alliances with other artists and other communities to achieve professional, cultural, and political goals. Students help plan curricular innovations at SAIC and participate in related activities such as visiting artists programming. They explore the possibility, in part through on-site visits, of establishing or strengthening ties between SAIC and various communities throughout Chicago. Students further develop course themes through substantial written assignments and through applications of these ideas in their studio practice. The goal of the course is to give students the motivation, knowledge, and tools to take an active role as citizens in a multicultural democratic society.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (001) | Noelle Africh | 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 |
Credits |
DepartmentArea of StudyLocation |
| Designed Objects Core Studio 2: Material, Form, and Inteaction | 2030 (001) | Antonio Belton | Thurs
9:00 AM - 3:00 PM In Person |
Description
Core Studio 2 focuses on how material, form, and interaction shape experience over time. Building on the foundations of designing for others, this studio deepens students¿ engagement with making, refinement, and use.
Students work extensively with physical materials, exploring construction, surface, finish, and detail as communicative elements. Here, students deepen their builder practice by working through material constraints, assemblies, and refinement, learning how construction decisions shape experience. Digital tools are more fully integrated into the workflow, with 3D modeling used to develop form, assemblies, and tolerances, and 2D CAD supporting patternmaking, layouts, and fabrication planning. Sketching remains central as a means of refining proportion and communicating intent. Interaction is introduced as a temporal and physical experience, encompassing affordance, sequence, and feedback. Prototyping emphasizes iteration and refinement, with students moving between digital models and physical builds to test how objects are handled, activated, and interpreted. This studio reinforces building as a disciplined design practice, where material decisions, craft, and structure communicate meaning as clearly as form or function. Who this course is for This studio is for students who have completed Core Studio 1 and are ready to deepen their engagement with materials, construction, and use. It is well suited to students who want to strengthen their ability to design objects that are experienced through touch, handling, and interaction over time. When to take it Core Studio 2 is typically taken after Core Studio 1. The studio is designed to run alongside the core skills courses¿Designing Interaction, Sketching, and 3D Modeling¿reinforcing the integration of material exploration, digital workflows, visualization, and prototyping. Students are strongly encouraged to have taken, or to be concurrently enrolled in, a digital modeling core skills course, as 3D modeling is used regularly throughout the studio. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. PrerequisitesPre: DES OB 1006 or 2020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (002) | MJ Lounsberry | 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 |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (003) | 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (005) | Jessica Du Preez | 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 |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (006) | Mary Griffin | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (007) | Karen Azarnia | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (008) | Ruth Poor | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (009) | Josiah Ellner | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (010) | Larissa Setareh Borteh | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (011) | Herman Aguirre | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fig Draw:Anatomy | 2030 (012) | Melinda Whitmore | Wed
9:00 AM - 3:00 PM All Online |
Description
This course is designed to enlighten and empower the student?s knowledge of basic anatomy in skeletal and superficial musculature forms and to apply it in a drawing context with confidence and fidelity. Not only will the student become better familiarized with anatomical structures through class lectures and life drawing sessions, but a greater understanding of the dynamics of form and movement in space will be achieved through practice and repetition of procedures learned throughout the course.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fig Draw: Adv Draw Inside/Out | 2031 (001) | Anne Harris | Tues
9:00 AM - 3:00 PM In Person |
Description
This course will concentrate on drawing the figure with an emphasis on sculptural form. The objective will be to use drawing?particularly line?to investigate the body three-dimensionally. You will work from the inside out, drawing internal volume and topography, rather than an outside edge.
The goal will be to rotate the body and move it through space, to understand its basic structure and movement and, through that understanding, to learn about drawing as a tool for investigation, a way of exploring and structuring space, weight, and form. By semester's end you will be able to invent a body in space. This ability is key to the tradition of figurative art found in artists ranging from Peter Paul Rubens to Kerry James Marshall and Nicole Eisenman. Throughout the course we will be looking at and learning from a range of figurative artists, both historical and contemporary, via lectures and visits to the museum, including the AIC?s Prints and Drawings viewing room. This is a highly structured course, akin to an intensive workshop. New information will be introduced every class. There will be regular outside assignments. PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| Fig Draw:Adv:Narr/Figuration | 2031 (002) | Amanda Joy Calobrisi | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio drawing course explores how narrative operates in the history and traditions of figure painting. The class incorporates a range of methods; visits to the museum and galleries; introduce written material into drawn images; and analyze forms of narrative, including short film, graphic novels, abstraction, and sculpture. Sessions will focus on how mood, color, light and the passing of time influence how we read and produce a narrative image.
PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| Costume Design in Film and TV | 2032 (001) | Bambi Deidre Breakstone | Thurs
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.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Natural Dye | 2032 (001) | Christian Ortiz | Sat
10:00 AM - 4:00 PM In Person |
Description
Students learn how to translate colors from the natural world into textiles, by using natural dyes foraged from plants, as well as dye concentrates and indigo, for immersion and direct dye applications. Complex surface design patterns are created through the Japanese resist process of shibori. Chemistry, color theory, material manipulations, and research provide a technical foundation for the creation of projects within the expanded field of textiles.
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Class Number |
Credits |
DepartmentLocation |
| Masks and Mantles | 2035 (001) | James Paul | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course the students will study and construct theater masks, corresponding headpieces and mantles or capes. Masks and mantles are based on Commedia dell'arte and baroque silhouettes. Students will also illustrate a fairy tale or morality play, using Commedia dell'arte and baroque stylistic elements (costume, architectural and interior backgrounds).
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: Feminist and Queer Clay Strategies | 2035 (001) | Stevie Hanley | Wed
9:00 AM - 3:00 PM In Person |
Description
This class engages with feminist and queer theory to explore non-traditional methods of engaging with clay. Students will cultivate strategies for producing artwork in dialogue with conversations on the body as a medium, gender, and sexuality. Throughout the course, students will draw from assigned text, research, and art historical references as a source for contextualizing their own practice. Projects will explore the use of form, formlessness, and performance as processes for manipulating ceramic material.
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Class Number |
Credits |
DepartmentLocation |
| Top:Intimate Curious Object | 2035 (002) | Pei-Hsuan Wang | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class is designed to explore our perception and understanding of diminutive, poetic, intimate, fantastic, fetishistic and body objects. The potential and significance of the intimate and small-scale object will be explored. Tools and methods of construction will be introduced allowing the student to investigate various clays, surface treatments and types of firing. Students are free to work sculpturally, figuratively, with the vessel or a combination of other formal strategies appropriate to their interests and personal investigation. Installation strategies will be discussed with opportunities to explore various presentation possibilities. Combining ceramic objects with found objects and otherwise non- ceramic materials will be an important component of the class. Lectures will address the subject historically and within contemporary art.
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Class Number |
Credits |
DepartmentLocation |
| Extreme Craft | 2036 (001) | Mindy Rose Schwartz | Wed
9:00 AM - 3:00 PM In Person |
Description
Now, more than ever, sculpture is the most inclusive category of artmaking. Yet even at the height of this expanded field, a residual hierarchy remains when it comes to means associated with craft. In this course students examine traditional sculpture and craft processes in relation to notions of taste, class, gender, age. Students consider skill or craftsmanship; utility and decoration; commercial pressures vs. aesthetics standards and are encouraged to examine their own relationship to specific materials, processes, and techniques as a source of meaning and foundation for sculptural practice.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Wksp:Form and Formlessness | 2040 (001) | Nathan Hoks | Mon
12:15 PM - 3:00 PM In Person |
Description
Please see topic description for specific descriptions.
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Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (001) | Paul Heyer | Mon
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 |
Credits |
DepartmentArea of StudyLocation |
| Wksp:The Personal Essay | 2040 (002) | Kathie Bergquist | Tues
12:15 PM - 3:00 PM In Person |
Description
This class aims to help students develop their styles and to uncover the rhetorical possibilities traveling under the name 'essay.' Depending on your habits, you may write anywhere from two to two hundred essays this semester. Your obligation to the workshop, however, is to turn in your best two essays for the scrutiny of others. This means taking a piece of writing as far as possible on your own, to achieve what feels, at least for the time being, like a stable, fully amplified, stylistically polished text. You will read 3-7 essays per week and turn in a reaction paper every other week that identifies and discusses the essays you have read. Class culminates with a take-home exam with three short-answer questions, asking you to think about what you learned in the workshop and how. This class is an excellent introduction to the essay form, useful to all students who intend to put themselves forward in writing.
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Class Number |
Credits |
DepartmentLocation |
| Std Draw:Large Format | 2040 (002) | Steven Husby | Mon
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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (003) | Jonas Müller-Ahlheim | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Dwg:Mixed Media Paper | 2040 (005) | Noelle Africh | Tues
9:00 AM - 3:00 PM In Person |
Description
Simply put, this class is about exploring possibilities-- the use of various combinations of materials used, wet and/or dry, on any paper related products, from fine drawing sheets to left over cardboard, as long as the what and how of it is on/with a paper support...the individual pursuit for a personal visual voice is encouraged...during the first several weeks, various 'problems' will be given to start things moving?
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Representn/Abstractn | 2040 (006) | Judith Geichman | Tues
9:00 AM - 3:00 PM In Person |
Description
Manipulate Space, Deconstruct Form, Re-Invent Your Visual World.
This course will explore different form and space making systems as they relate to abstraction. Slide presentations throughout the semester will focus on abstraction and different artist, art movements, elements of visual language, and concepts past and present, all to engage and open students visual ideas and art making practice. Students will be encouraged to pursue their own ideas and imagery as they work with the course material. Painterly drawing will be explored, as well as drawing from a live model. Field trips are scheduled in the curriculum. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (007) | Alexis de Chaunac | Tues
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Draw:Landscape | 2040 (008) | Olivia Petrides | Wed
9:00 AM - 3:00 PM In Person |
Description
From the sublime to the technological, contemporary artists are reinventing the landscape genre and examining its relevance. This multi-level studio course provides an opportunity to explore individual perceptions of the natural world in light of current landscape painting narratives. There will be presentations and readings on issues pertinent to the landscape as subject.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (009) | Noah Rorem | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (010) | Arnold Kemp | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (011) | Robert Burnier | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (012) | Scott Reeder | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (013) | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (014) | Jessica Zawadowicz | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (015) | George Liebert | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (016) | Tyson Reeder | 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (017) | Claire Ashley | Sat
10:00 AM - 4:00 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 |
Credits |
DepartmentArea of StudyLocation |
| Type and Image in Motion | 2041 (001) | 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. PrerequisitesPrerequisite: VISCOM 1002 or VISCOM 2941. |
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Credits |
DepartmentArea of StudyLocation |
| Std Draw:Adv Form Invention | 2041 (001) | Richard Hull | Tues
9:00 AM - 3:00 PM In Person |
Description
An advanced investigation of drawing as an organizing tool for thought and personal image exploration. Students work with both assigned and independently conceived problems. Topic: Form Invention - The exploration of representation strategies beyond direct perception and conventional visual modes. Procedures will include exaggeration and omission, stylization and abstraction, composite and hybrid forms, secondary and double images, visual puns and rhymes, and multi-perspectival representation. Examples will be drawn from the span of art history, East and West and from contemporary practice and visual culture. There will be studio problems and exercises, sketchbook assignments, individual projects, slide presentations, and museum visits.
PrerequisitesPrerequisite: PTDW 2040. |
Class Number |
Credits |
DepartmentLocation |
| Ceramic Sculpture | 2051 (001) | William John O'Brien | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course introduces students to sculptural ideas executed in various ceramic hand construction techniques including slab, coil, press mold, etc. Students will explore how the unique physical characteristics of clay can contribute to the content of the work. Construction strategies will be examined in a conceptual context, investigating issues of space, technology, and architectural implication to build a dimensional perspective of personal and societal relevance. Emphasis will be on process, exploration, and discussion.
We will examine artists who've instrumentalized clay in inventive and boundary-pushing ways. Some of the artists we'll look at are Arlene Schechet, Annabeth Rosen, Ron Nagel, Huma Bhabha, Genesis Belanger and more. Readings and screenings will vary but typically include interviews with contemporary artists and critical essays by Eva Respini, Clare Lilley, Rosalind Krauss and more. Students should expect to produce a body of work consisting of assigned and self directed projects to be presented in a culminating midterm and final critique. |
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Credits |
DepartmentLocation |
| Virtual Flat to Form - Digital Patternmaking | 2060 (001) | Aubrie J. Meyer | Mon, Mon
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course introduces students to digital pattern-making for fashion. Students learn to use the CAD hardware and software, designing and modifying patterns virtually. This includes digitizing/converting hard patterns to digital files, modifying existing stock patterns, textile printing, 3-D visualization, and plotting sample patterns. Students receive a hands-on approach to developing virtual patterns through fabric testing, using body measurements, and assembling prototypes for final design approval. Other industry skills are developed, such as creating pattern cards, cutter's musts, grading, and marker making.
PrerequisitesFASH 2001/2014/2016/2020/2022/2024/2901 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Pattern Making for Sculpture | 2074 (001) | Juan Angel Chavez | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
Patternmaking is at the heart of metalworking, woodworking, fashion, architecture and many other disciplines. Why? Because so many materials are available in sheet form. Students in this course will investigate a range of processes by which flat sheet materials like paper, wood, metal, fabric, vinyl, and plastic can be used to make volumetric, three-dimensional forms. Patternmaking for Sculpture will teach the student digital and analogue methods of designing, cutting, and assembling 3D work. Practical strategies as well as contemporary industrial use and the history of patternmaking will be explored to give each student a range of options for making their own work, whether it be art or design.
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Credits |
DepartmentArea of StudyLocation |
| New Media: Crash Course | 2100 (001) | Christopher Lee Collins | Fri
9:00 AM - 3:00 PM In Person |
Description
This introductory studio course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web based technologies are introduced from the perspective of media art making.
Students will be exposed to relevant theoretical texts. Historical and contemporary new media works are screened, demonstrated and discussed. Through a series of workshops, assignments and a final project, students will gain a general understanding of how to read and write new media using various techniques such as HTML ++ CSS, JavaScript, Realtime systems, Generative systems, and Art Games. PrerequisitesPrerequisite: FVNM 2000 |
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Credits |
DepartmentArea of StudyLocation |
| Art and Technology Practices | 2101 (001) | Joseph Michael Kramer, Christine Anne Shallenberg | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art and Technology Practices | 2101 (001) | Joseph Michael Kramer, Christine Anne Shallenberg | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.
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Credits |
DepartmentArea of StudyLocation |
| Tools and Techniques of Architecture | 2102 (001) | Stephanie Surjan | Thurs
3:30 PM - 6:15 PM All Online |
Description
This course introduces the foundational tools and techniques of architectural representation using software platforms such as Rhino and Revit. It is intended for students with little or no prior experience in architectural software.
Students learn the conventions of architectural drawing, including plans, sections, elevations, scale, and basic three-dimensional representation. The course emphasizes the relationship between two-dimensional drawings and three-dimensional models, and introduces digital workflows for drafting, modeling, file organization, and drawing output. Class work includes lectures and demonstrations; readings; and iterative exercises to build understanding of concepts and skills with software. This course requires students to have a laptop that meets SAIC's minimum hardware specifications and runs the department software template including Rhino and Revit. |
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| Foundry Basics | 2113 (001) | FÁTIMA | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.
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DepartmentLocation |
| Foundry Basics | 2113 (002) | Julie A. Nagle | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.
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DepartmentLocation |
| Digital Modeling: Rhino | 2124 (001) | James TerMeer | Fri
9:00 AM - 3:00 PM In Person |
Description
This course introduces Rhino as a form-driven, exploratory 3D modeling tool used widely in product, furniture, and spatial design. Emphasis is placed on using modeling as a way to think through form, proportion, and iteration, and how to utilize it within a production-focused process. Rhino is widely regarded as a standard professional 3D modeling tool in industrial design, supporting a form-driven approach commonly used in studio-based and consulting practice.
Students learn core Rhino workflows including curve construction, solid and basic surface modeling, transformations, and file preparation for visualization and fabrication. In addition to modeling, the course introduces foundational digital workflows, including exporting models for 3D printing, preparing 2D drawings for laser cutting, and using KeyShot to create rendered images that clearly communicate design intent. Through approximately three design projects, students use Rhino to explore object form, refine ideas through iteration, and translate digital models into physical and visual outputs. The emphasis is on clarity of form, thoughtful revision, and understanding how digital models function within a broader design process. When to take this course: Students are strongly encouraged to take this course as early as possible. Rhino is used regularly beginning in Designed Objects Studio 2 (DO2) and is commonly applied across topical studio electives. Early exposure allows students to integrate modeling naturally into studio work rather than treating it as a standalone technical skill. Who this course is for: This course is ideal for students interested in form-driven design, iterative making, and exploratory modeling practices. Alongside SolidWorks and Designing Interaction, this course is part of the Designed Objects core skills group, supporting students as they move through the three-course Core Studio sequence. Completion of either Rhino or SolidWorks fulfills the core 3D modeling expectation for the Designed Objects program. Designers in professional practice often specialize in one primary modeling platform while developing transferable modeling concepts that apply across tools. |
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Credits |
DepartmentArea of StudyLocation |
| Digital Modeling: Solidworks | 2126 (001) | Angie Lullie | Tues
3:30 PM - 9:15 PM In Person |
Description
This course introduces SolidWorks as a parametric, constraint-based 3D modeling tool widely used in product development and manufacturing-oriented design. Emphasis is placed on using modeling to define design intent, dimensional relationships, and functional requirements, supporting clarity, precision, and repeatability in complex objects and systems. SolidWorks is widely regarded as a standard professional 3D modeling tool in industrial design, supporting workflows common in corporate, consulting, and manufacturing-focused practice.
Students learn core SolidWorks workflows including sketch-based feature modeling, parametric constraints, part and assembly creation, and basic documentation practices. The course focuses on how dimensions, constraints, and features work together to support functional performance, mechanical relationships, and downstream production needs. Through approximately three design projects, students develop objects with multiple components, test relationships between parts, and communicate designs through structured models and drawings. Projects emphasize precision, decision-making, and the translation of design concepts into clearly defined systems rather than open-ended formal exploration. When to take this course: Students are strongly encouraged to take this course as early as possible. 3D CAD is used regularly beginning in Designed Objects Studio 2 (DO2) and across many topical studio electives. Early exposure allows students to integrate modeling directly into studio work. SolidWorks is especially useful for students interested in later-stage design development and production-oriented electives. Who this course is for: This course is ideal for students interested in mechanical systems, assemblies, and production-ready design. Alongside Sketching for Designed Objects and Designing Interaction, this course is part of the Designed Objects core skills group supporting the Core Studio sequence. Completion of either SolidWorks or Rhino fulfills the core 3D modeling expectation for the Designed Objects program. Designers in professional practice often specialize in one primary modeling platform while developing transferable modeling concepts that apply across tools. |
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DepartmentArea of StudyLocation |
| Light Experiments | 2130 (001) | Gregory Mowery | Tues
9:00 AM - 3:00 PM In Person |
Description
This class will be an exploration of the electric light as an art medium. Through the demonstration of various electric light technologies the student will learn both the traditional use of lighting and installation and also an experimental approach to lighting that will produce unexpected visual effects. Students may work in individual or group projects that will span the range of light use from architectural design to performance as well as merging with other media such as sound.
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| The Artist as Stylist?: Fashion Signifiers in Art | 2143 (001) | Caroline Marie Bellios | Tues
12:15 PM - 3:00 PM In Person |
Description
If you could only be seen in one outfit for the rest of your life ? what would it be? How would you represent who you are through your choice of silhouette, color, pattern, and texture? In this course we will take a look at art?s ability to freeze moments, and garments, in time. What did the sitter (or the artist) chose to clothe the body? How did fashion and its power of communication function within the time the art work was made? What choices did the artist make to idealize or change their representation of the garments?
In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a warrior or a captive in work of the Nazca from ancient Peru? How can we read hairstyles in Ukiyo-e paintings from 17th century Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will utilize the collections of the Art Institute, The Field Museum, and others around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, explore through making, and develop skills in critical looking leading to two short research papers examining works of their choice. In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a king in Incan pottery? How can we read hairstyles in Ukiyo-e paintings from Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will visit the collections of the Art Institute, The Field Museum, and other collections around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, and develop skills in critical looking leading to two short research papers examining works of their choice. PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| History Of Architecture & Design I | 2191 (001) | John P Smagner | Tues
3:30 PM - 6:15 PM In Person |
Description
This course surveys the history of architecture and design, including furnishings, decorative arts and interiors, from the earliest settlements of the Neolithic Era until the onset of Neoclassicism in the late Eighteenth Century. Special attention is given to the developments that have remained most influential within the architecture and design of today, with particular emphasis on ancient Greece and Rome, Early Christian, Byzantine and early Islam, the European Middle Ages, and the Renaissance, Baroque and Rococo cultures.
Through extensive lectures and readings, special focus in this class is devoted to the art of the Greek temple, Roman civil engineering, the rise of monasticism in the early Middle Ages, early Byzantine and early Islamic religious design, pilgrimage and Romanesque church building, Gothic Europe and the age of cathedrals, Italian Renaissance architecture and the rise of Humanism, Baroque churches and papal patronage, French chateaux and absolute monarchy, and the origins of Modernism during the eighteenth-century Enlightenment. Students will complete a combination of in-class and take-home exams along with a final research paper on a topic chosen in consultation with the instructor. PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Modern and Contemporary Latin American Art | 2206 (001) | Josh L. Gomez | Thurs
8:30 AM - 11:15 AM In Person |
Description
This is an undergraduate survey of modernism and postmodernism in Latin America from the 1920s through the present. Topics will include national identity and 'anthropophagy' in the first wave of modernism in the region, debates over Surrealism and realism in the 1930s, the transition from 'concrete to 'neo-concrete' form and the link between architecture and developmentalism in the 1940s, 1950s and 1960s, conceptual art and politics in the 1960s and 1970s, and more recent sculptural, photographic, performance, and relational practices.
Specific topics include the cosmopolitan avant-garde that appeared in Mexico at the start of the 1920s, the theorization of anthropofagia in Brazil and indigenismo in Peru, Cuba?s Grupo Minorista, Mexican muralism and surrealism, Joaquin Torres-Garcia?s introduction of abstraction to Uruguay and Argentina, links between art and architecture in Venezuelan and Brazilian developmentalism, the rise of kinetic and participatory approaches in the 1950s and 1960s, conceptual art as a response to the dictatorships of the 1960s and 1970s, Latinx and Chicanx actions and performance in the United States, the politics of memory in post-dictatorship/violence art in Chile and Colombia, persistent questions of borders and internationalism in contemporary approaches to ?relational aesthetics? in Central America and the Caribbean, and many other examples. This course requires weekly reading responses, two papers, and a final exam. PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Beyond Oriental: 20th Century Asian American Art | 2385 (001) | Larry Lee | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course examines the emergence, growth and evolution of art by Asian Pacific Islander Americans throughout the twentieth century especially in the aftermath of the Civil Rights Movement that also spawned a genesis of Asian American identity, culture and activism to the late 1980?s during the apex of multiculturalism and the politics of representation to the transnationalism of the new millennium and beyond.
Through readings, field trips, and film screenings, our class will consider the ongoing debate of what constitutes Asian American art by looking at artists including Isamu Noguchi, Roger Shimomura, Nam June Paik, Yoko Ono, Maya Lin, Tseng Kwong Chi and others within these historical, cultural and political contexts to discuss how questions related to stereotype, cultural difference, gender politics, and identity construction affected and shaped its development and meaning. Course work will include in-class presentation, two research papers as well as a mid-term and final exam. PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| Animation I: Drawing for Animation | 2420 (001) | James Trainor | Mon
9:00 AM - 3:00 PM In Person |
Description
This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.
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DepartmentArea of StudyLocation |
| Animation I: Drawing for Animation | 2420 (002) | Matthew Marsden | Tues
9:00 AM - 3:00 PM In Person |
Description
This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Animation I: Drawing for Animation | 2420 (003) | James Trainor | Fri
9:00 AM - 3:00 PM In Person |
Description
This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.
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Credits |
DepartmentArea of StudyLocation |
| History of Korean Art | 2460 (001) | Yeonsoo Chee | Wed
8:30 AM - 11:15 AM In Person |
Description
This course introduces Korean visual culture by examining images and objects in their historical, social, religious, and philosophical contexts. It covers key examples of paintings, ceramics and Buddhist art from the Three Kingdoms period to the Choson dynasty, through Modern Korean art, This course helps students gain a comprehensive understanding of traditional Korean visual culture and its modern legacy.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| The Arts of Edo Japan | 2462 (001) | Mami Hatayama | Tues
8:30 AM - 11:15 AM In Person |
Description
This course introduces Japanese Art between the 17th to the 19th century, also known as the Edo period (1603-1868), when a variety of art forms and styles emerged. We will examine a selection of major styles and artistic practices, and their social and historical backgrounds, providing an introduction to Japanese aesthetics, techniques, and artists. Students will be able to become familiar with many key works and also gain some understanding on changing currents during the 250 years period. Examples of the art forms we will examine include those from the official painting schools, such as the Kano school, to the vibrant popular culture ukiyo-e (floating world pictures). Influences from China and the West that were absorbed by artists in a variety of ways will be considered. To give foundation, the first few classes will provide a broad overview of pictorial art in Japan from ancient times to the 16th century and study major artistic traditions. Course work will vary but typically includes two writing assignments and a final exam.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Origins of Modern Architecture | 2500 (001) | Timothy Wittman | Tues
3:30 PM - 6:15 PM In Person |
Description
This course examines significant developments in European architecture, with regard to structure, function, and style, from the Industrial Revolution in the late 18th century through the outbreak of World War I. Major architects and their works are dealt with in the context of pertinent practical, theoretical, and social issues, to assess the overall prominence of architecture in the period of emergent modernism in Europe.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| History of Dress | 2566 (001) | Sandra Adams | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course is a chronological history of human dress from pre-history to the 20th century, and from archaeological remains of ancient cultures, through diverse global material technologies and markets influencing dress, through European monarchical and social class attire, to global exploration and colonialist effects upon worldwide human dress and ways of life. Portraiture, artistic dress and reform dress will be seen to evolve and transform long-standing gender binaries in human dress. Historic styles will be seen to continue to influence contemporary dress and fashions. The sartorial contributions of diverse historical and global human cultures also be appreciated for their innovations and ongoing influences. All students may become conversant with the anatomy, language and literature of dress.
Learning experiences include lectures, readings, library and museum visits, observational sketching and noting from documents of dress, film viewing and spoken illustrated presentations in class. Focus on primary, secondary and tertiary sources of clothing information will be essential. Historical accuracy, creative anachronisms and research of period clothing will be expressed in film viewing and Ryerson Library antique costume books. Visits to Art Institute curatorial departments to view period armor, textiles and garments will provide essential experiences of historic dress. Assignments will include: self-introductory observations on a museum exhibition visit, a spoken presentation from a group of diverse Documents of Dress sketched and noted by each student on visits to about 6 libraries, museum installations and curatorial departments, and a final presentation/research paper of 10 pages on a Personification of Style, an individual whose attire and accomplishments made important cultural contribution in their time. Citations and bibliography are essential for credit. Knowing your sources is essential. PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| INTERIORITY ON SCREEN | 2588 (001) | Daniel Ricardo Quiles | Wed
6:00 PM - 9:00 PM In Person |
Description
What possibilities does filmic language offer for representing the inner lives and interior states of characters/human-subjects on screen? This course focuses on cinematic works that depict the subjectivities and mental states of their characters in unconventional, intimate, and poetic manners. Point-of-view (POV), point-of-audition (POA), close-ups, voice-over, characterization, performance style and depiction of dreams are among the cinematic elements and concepts that will be critically explored and defamiliarized throughout the course. Screenings and close study of works by filmmakers such as Lynne Ramsay, Barbara Loden, Lucrecia Martel, Todd Haynes, Apichatpong Weerasethakul, ildikó enyedi, Kathleen Collins, Márta Mészáros, Elem Klimov and Krzysztof Kie¿lowski will be accompanied by scholarly and personal essays and readings.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| 19th Century Photography | 2621 (001) | Alice Maggie Hazard | Thurs
3:30 PM - 6:15 PM In Person |
Description
This course discusses the development of photography as both an art and a tool, including its invention, the initial social reaction to the photograph, the careers of major photographers, movements, and commercial publishers. The interrelationships between photography, art, science, and society are emphasized.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| History Of Sonic Art | 2660 (001) | Seth Kim-Cohen | Wed
12:15 PM - 3:00 PM In Person |
Description
This course offers an historical survey of music as a sonic art form from the Futurists to the present day. Emphasis is placed on works that tune the performance environment, explore sound as sculpture, interact with the listener/viewer, and employ intermedia. Class discussions include topics such as basic psycho-acoustics, sound manipulation, conceptual art, installation techniques, and constructivist aesthetics.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Introduction to Video Art | 2670 (001) | Bruce Jenkins | Mon
12:15 PM - 3:00 PM In Person |
Description
This course is designed to provide a comprehensive introduction to the history of video art from its emergence in the late 1960s through our present moment. Students will examine key works and the major historical, cultural, and aesthetic influences on the form.
PrerequisitesPrerequisite: Art History Survey Requirement |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Video Art | 2702 (001) | Bruce Jenkins | Mon
12:15 PM - 3:00 PM In Person |
Description
This course is designed to provide a comprehensive introduction to the history of video art from its emergence in the late 1960s through our present moment. Students will examine key works and the major historical, cultural, and aesthetic influences on the form.
PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentArea of StudyLocation |
| Interwar Art: Notions of Beauty | 2865 (001) | Mark Krisco | Thurs
3:30 PM - 6:15 PM In Person |
Description
Exploring the art, fashion, music of the 'Jazz Age'this class reveals the enduring impact 1920's aesthetics has had on contemporary fashion, art and social customs. Starting with an exploration of the differing mind sets of Europeans versus Americans, this class then takes an in-depth look of the artists and lifestyles 1920's Paris that had been greatly impacted by the influx of Americans after the First World War. The class ends with the lasting legacy of the Jazz Age, which was seen particularly in the 1960's, but currently has resurfaced in contemporary issues of gender identity.
More specifically, this class examines using film and texts the two key Jazz Age couples; F. Scott and Zelda Fitzgerald and Gerald and Sara Murphy. The former couple establishing the persona of 'the flapper' and the latter couple establishing a major link between American in France and the Famous School of Paris artists particularly Picasso. Other key figures are examined such as the first major Chinese American actress Anna May Wong and the black performer Josephine Baker as well as fashion designer Coco Chanel and film star Clara Bow. Course work revolves around two key texts as well as a reading the Great Gatsby. Reading questions accompany the 1st text and essay is required to explore the other text in relation to the Great Gatsby. There is also one final paper on one Jazz age artists of the student's choice. PrerequisitesPrerequisite: Art History Survey Requirement |
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Credits |
DepartmentLocation |
| Analog Sound Studio | 3000 (001) | Whitney D. Johnson | Thurs
9:00 AM - 3:00 PM In Person |
Description
Studio Techniques is an intermediate-level course that approaches the analog recording studio and its technologies as a creative environment for sound manipulation and exploration. Beginning with the sound sample as a material basis, the course combines a detailed approach to the fundamentals of acoustics and auditory perception with thorough instruction on analog signal processing and mixing. Students produce assigned and independent projects using these sample-based analog techniques. Topics are supplemented by listening exercises and examples of various artists? works to give historical and cultural context.
Topics in acoustics and auditory perception include sound localization, spatial characteristics of sound, frequency spectrum, and dynamics and loudness. Artists and musicians whose works serve as examples include Ruth White, Suzanne Ciani, Arthur Russell, Laraaji, Éliane Radigue, Laetitia Sonami, Trevor Wishart, and others. Assigned projects include generating disparate sound materials from simple sources; composing sound/music works using self-generated samples and sources; live mixing/composing using analog technologies; independent projects using technologies and strategies introduced in the course content. PrerequisitesPrerequisite: SOUND 2001 or permission of instructor. |
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Credits |
DepartmentLocation |
| Intermediate Graphic Design | 3001 (001) | Mary Krysinski | Mon
9:00 AM - 3:00 PM In Person |
Description
Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
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Credits |
DepartmentArea of StudyLocation |
| Fashion Construction III | 3001 (001) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
As a project-based course, Fashion Construction III introduces the intermediate construction principles for pants and jackets. Tailoring, cut-and-sew knitwear, and creative draping techniques used on a variety of body types, and gender expressions are explored. The principles of proportion, balance, and fit as required for the achievement of well-made garments will also be studied. Pre req: minimum two Fashion construction classes: FASH 2001, FASH 2003, FASH 2020, FASH2022 or FASH2024
PrerequisitesStudent must have completed either FASH 2900 or FASH 2003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (001) | Josh Dihle | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Offset Productions | 3001 (001) | Eric Von Haynes | Mon
9:00 AM - 3:00 PM In Person |
Description
This class introduces students to the concepts and production of distributable artists' projects. Working closely with faculty, students develop projects to be printed on the Heidelberg offset press and Risograph machines. Multiples such as prints, books, zines, posters, stickers, cards, and packaging are examples of potential projects that utilize these high-volume printing processes. Image creation methods include digital, photo, collage, and hand-drawing. Adobe Creative Suite and a variety of binding and packaging techniques will be demonstrated. Through hands-on examples, readings, and visits to special collections, such as the Joan Flasch Artist Book Collection, a wide range of printed work and distributable projects will be shared and discussed. Over the semester, students can expect to complete a number of multi-color offset and risograph projects and participate in two critiques.
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Credits |
DepartmentArea of StudyLocation |
| Global Research Studio | 3001 (001) | Monika Niwelinska | Wed
6:45 PM - 9:30 PM In Person |
Description
Transnational Temporalities: Interdisciplinary Research and Practice is a required course for international and AICAD exchange students who are new to SAIC, but have already completed a substantial amount of advanced level or independent coursework. Students enrolled in this class will use utilize both traditional and experimental research methodologies, access the many archives and resources available at SAIC and across Chicago, and participate in a vigorous studio-based critical dialogue about their studio work with a global awareness. The course will encourage students to make connections between this class and their respective areas of studio interest or specialization - through recognition of global identities (otherness and representation, deconstructing difference, decolonization), global contextualization, global art history and it's asymmetries, as well as subject driven themes in global contemporary art: place, time, memory, materiality, body, identity, language, science, among others.
To make engaging art requires the artist to recognize the cultural context of their time, to think critically in regards to that context, and to make art or design works in response. The more an artist or designer seeks to problematize and add greater complexity to what interests them, the more polyvocal their practice will become. Examples of artists and designers to be addressed in this course include: Richard Tufte, Shirin Neshat, Hito Steyerl, Zhang Huan, Mark Lombardi, Tehching Hsieh, Christian Boltanski, Kara Walker, Song Dong, Cai Guo-Qiang, Brian Jungen, Nick Cave, Doris Salcedo, Anish Kapoor, Olafur Eliasson, LaToya Ruby Frazier, Marina Abramovic, Ai Weiwei, Andy Goldsworthy, Roni Horn, Sophie Ristelhueber, Kehinde Wiley, Jeff Wall, James Turell, Lorna Simpson, Tonika Lewis Johnson, Alfredo Jaar, Dawit Petros,, Danh Vo, Guerilla Girls, Tonika Lewis Johnson (The Folded Map Project) and Lucy Orta. The course structure will provide three tiers of interaction, student to instructor, student to student, and student to content. The class relies on weekly assignment-based projects, peer-to-peer feedback, and self-paced visual material. Historical and contemporary readings and screenings provide a conceptual framework for the course work, which will include weekly reading & screening responses supporting live and online discussions (through Canvas), short visual exercises, a research presentation on a specific artist, and a final project. |
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Credits |
DepartmentArea of StudyLocation |
| Top: Musicking | 3001 (001) | Danny Floyd | Thurs
12:15 PM - 3:00 PM In Person |
Description
Musicking is an analytical methodology developed by musicologist Christopher Small which redefines music as a verb and a performance of social relations wherein producer and audience reciprocally participate. This course uses this approach as a starting point towards broader definitions of participatory culture and investigations of other sensorial media that intersect or compliment musical participation. We examine music's unique position in 'Visual' Studies, fluidly situated between so-called 'high' and 'low' artforms, between pop-culture and creative practice.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Intermediate Graphic Design | 3001 (002) | Jacob Ristau | Wed
9:00 AM - 3:00 PM In Person |
Description
Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Construction III | 3001 (002) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
As a project-based course, Fashion Construction III introduces the intermediate construction principles for pants and jackets. Tailoring, cut-and-sew knitwear, and creative draping techniques used on a variety of body types, and gender expressions are explored. The principles of proportion, balance, and fit as required for the achievement of well-made garments will also be studied. Pre req: minimum two Fashion construction classes: FASH 2001, FASH 2003, FASH 2020, FASH2022 or FASH2024
PrerequisitesStudent must have completed either FASH 2900 or FASH 2003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (002) | Erin Washington | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Offset Productions | 3001 (002) | 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.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: Visual Anthropology | 3001 (002) | Matilda Stubbs | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course provides an introduction to social theories of visual communication and to methods of critiquing, producing, and displaying visual representations of cultural phenomena. Drawing primarily from anthropology and ethnographic research, students will explore the significance of visual images to represent and document identity, behavior, and everyday life. This includes examining how even ways of viewing - sight - are shaped, and also vary by and within, culture. Influences from film, photography, and graphic design provide examples of how the social sciences may incorporate these technologies from other disciplines, into behavioral analysis and to understand culture. However, the consequences of visual content creation and circulation (unintended or otherwise), features heavily in the course topics such as: travel photography, photojournalism, social media, and digital activism.
Course readings and ethnographic films focus on documentary developments spanning the 20th century - from the silent picture era, scientific cinema, and cinema verite - to internet media like virtual reality, gifs, screenshots, and Tik Toks. In reviewing this learning content, students will conduct comparative analysis of still, moving, and digital images while also creating their own visual content in the process. Learning activities include in-class breakout groups and students presentations, as well as independent work involving ethnographic drawing, a photo essay, film critique paper, and meme ethnography research project. PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (003) | Paola Cabal | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Top: Curating in the Expanded Field | 3001 (003) | Jose Gibran Villalobos | Tues
3:30 PM - 6:15 PM In Person |
Description
Curating today is a dynamic, many-facetted activity with open boundaries: artists, writers, historians, editors, event-, festival- and symposium organizers generate projects, configure actors and move objects across platforms. This course will trace pathways through the many options contemporary art worlds hold. It will explore curatorial rationales, outcomes and support materials by parsing examples through images, readings and site visits. Students are encouraged to develop curatorial prototypes. Both playful experimentation and the framing of more formal proposals will be supported.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (004) | Matt Morris | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (005) | Larissa Setareh Borteh | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (006) | Judith Geichman | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (007) | Rush Baker IV | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (008) | Susan Kraut | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Envisioning Information: Analysis and Display | 3002 (001) | Stephen Farrell | Wed
9:00 AM - 3:00 PM In Person |
Description
How does graphic design facilitate the ways we gather, give and receive information? How might we use typography and pictures, diagrams and symbols, sequence and spatial configuration to untangle a raw mass of data, guide a complex procedure, open (or suppress) correlations or satisfy multiple users' needs? This studio course explores principles and concepts of information design and visual display. Emphasis will be placed on analysis and mapping of raw data, structuring hierarchical and parallel pieces of information, enforcing statistical honesty, picturing nouns (maps, timetables?)j and picturing verbs (representation of mechanisms and motion, narrative...). This course is a core requirement for all Visual Communication students.
We will look at examples and strategies from several of Edward Tufte?s books and a wide spectrum of visualizations throughout history. Each week, teams of students will analyze data visualizations from New York Times, History Shots and others. There are two shorter projects which introduce basic concepts via typographic hierarchies and quantitative analysis. These are followed with two larger team projects: one print-based visualization of a macro-system, and one screen-based exploration of personal analytics. PrerequisitesPrerequisite: VISCOM 3001 and VISCOM 3011. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Design III | 3002 (001) | Tues
9:00 AM - 3:00 PM In Person |
|
Description
As a project-based course, Fashion Design III teaches primary and secondary topical research, and in the context of a historical and cultural framework, students establish their personal point-of-view in fashion. Students will create in-depth research journals and develop a personal visualization style. Students will learn expansive fabric manipulations that lead to distinct styling and collection development to support capsule collection (three looks) development in intermediate studio. Particular attention is given to the use of color, texture, patterns, and design refinement.
Pre req: Student must have completed FASH 2900 or receive instructor permission. Instructor permission will be granted with the completion of any 2 of the following Fashion Design classes: FASH 2002, 2005, 2006, 2010, 2016, 2018, 2023, 3005, 3016, 3033. For Summer 2024, this includes a portfolio review as well. PrerequisitesFASH 2900 or Instructor Permission |
Class Number |
Credits |
DepartmentLocation |
| Intermediate And Advanced Etching | 3002 (001) | Anna Laure Kielman | Mon
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.
PrerequisitesPrerequisite: PRINT 2002 or PRINT 2006. |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Exploding Paint | 3002 (001) | Claire Ashley | Tues
3:30 PM - 9:15 PM In Person |
Description
Using an irreverent love of painting and an absurdly oedipal desire to destroy it, this class looks at ways to create fantastical, hybridized, bastardized offspring ?paintings? in the expanded field. We will connect painterly gestures with non-traditional surfaces such as modular, flat-pack, and portable sculptural form, found objects, architectural space, virtual space, video projection, performative action, and the body. Color workshops, woodshop authorizations, material sourcing field trips, video projection/performance workshops, and site-specific installations will be components of this class. A willingness to experiment, invent, imagine, and fail is required.
Artists shown will range from historical figures such as Robert Rauschenberg, Sam Gilliam, Elizabeth Murray, Lynda Benglis, and Eva Hesse, to contemporary practitioners such as Jessica Stockholder, Katharina Grosse, Tomashi Jackson, Anna Betbeze, Liu Bolin, Abigail DeVille, Yvette Mayorga, Alexis Teplin, Brian Bress, Donna Huanca, Rachel Rose, Takeshi Murata, Ben Jones, and Lee Wen. Readings will vary but typically include Thomas McEvilley's 'Thirteen Ways of Addressing a Blackbird', 'Mapping: The Intelligence of Artistic Work' by Anne West, and ?Painting 2.0: Expression in the Information Age? edited by Ammer, Hochdorfer, and Joselit. The semester will consist of three ambitious projects and critiques: 1. Draped Skins; 2. Goopy Objects; 3. Body Actions. Slide presentations and required readings will be assigned. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fashion Design III | 3002 (002) | Thurs
9:00 AM - 3:00 PM In Person |
|
Description
As a project-based course, Fashion Design III teaches primary and secondary topical research, and in the context of a historical and cultural framework, students establish their personal point-of-view in fashion. Students will create in-depth research journals and develop a personal visualization style. Students will learn expansive fabric manipulations that lead to distinct styling and collection development to support capsule collection (three looks) development in intermediate studio. Particular attention is given to the use of color, texture, patterns, and design refinement.
Pre req: Student must have completed FASH 2900 or receive instructor permission. Instructor permission will be granted with the completion of any 2 of the following Fashion Design classes: FASH 2002, 2005, 2006, 2010, 2016, 2018, 2023, 3005, 3016, 3033. For Summer 2024, this includes a portfolio review as well. PrerequisitesFASH 2900 or Instructor Permission |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B: Take It Slow | 3002 (002) | Karen Azarnia | Tues
9:00 AM - 3:00 PM In Person |
Description
In our contemporary society, we are constantly bombarded by visual imagery. The goal of this painting course is to create the conditions to slow down and make careful work, unplugging from the distractions of screens and the hectic pace of modern life to become more mindful of the world around us. We will approach the idea of slowing down through engagement with ideas concerning perception/looking, process, speed, and mental focus. This can be interpreted very broadly: the work itself may be abstract, representational or something in-between. We will also consider the ramifications of what it means to make a choice to consciously slow down. The overall process should allow for deeper engagement and development of work.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:The Abstract Image | 3002 (003) | Richard Hull | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio class will be an exploration of the premise that all paintings are abstract. Whether an image is found and formed from observation or imagination, that image is ultimately an abstraction of its source. We will address issues of Abstraction, Representation, and Conceptualism. Shape, color, composition and intent--no matter what the image--will be the class's focus.
This is a studio class. There will be no readings. Examples of other artist work will be given in response to the individual student's work. Every assignment is based on the students own work. All the assignments are surprises. The students will work a lot, some make more work than others. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Funny Painting | 3002 (004) | Scott Reeder | Fri
9:00 AM - 3:00 PM In Person |
Description
This course will explore the many varied possibilities of humor and painting. Through studio work, readings, presentations, and in class critique students will investigate both funny Ha Ha and funny Peculiar; drawing inspiration from alternative figures in art history as well as alternative approaches to making. Special emphasis will be placed on artists who employ an interdisciplinary studio practice.
Some examples of artists to be discussed; Martin Kippenberger, Dieter Roth, David Shrigley, Paul McCarthy, Brenna Murphy, The Hairy Who, The Gutai Movement, Erwin Wurm, Rachel Harrison, Maurizio Cattelan, Arte Povera, Tom Friedman, Jessica Stockholder, Sigmar Polke, Francis Picabia. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B: Surrealist Strategies | 3002 (005) | Kaylee Rae Wyant | Fri
9:00 AM - 3:00 PM In Person |
Description
Looking to the legacy of Surrealism as a strategy for contemporary painting, this course explores how intuitive processes and the unconscious can spark visual invention. Students will experiment with techniques such as automatism, collage, decalcomania, frottage, and the transformation of found objects to generate unexpected imagery. The class will study well-known Surrealist works at the Art Institute and also examine the movement's significant international and cross-generational impact, considering non-Western artists, the inclusion of women, contemporary artists, and many Chicago-based painters. Through exercises in intuitive abstraction and hybrid imagery, students will learn to harness chance, ambiguity, and the uncanny as tools for expression.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Video Everywhere | 3003 (001) | Eric Fleischauer | Fri
9:00 AM - 3:00 PM In Person |
Description
This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed.
PrerequisitesFVNM 2000 or FVNM 5020 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Digital Audio Production | 3003 (001) | William Harper | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is offered for those students interested in developing skills in the creation and application of digital audio. Using Apple's Logic software, students interested in exploring sound or music are introduced to audio manipulation techniques that allow them to create soundtracks, to record and produce songs or dance tracks, realize abstract sound pieces or manipulate sound for installations.
Techniques of sound manipulation are introduced, including audio recording and editing, looping, and sound destruction. MIDI, drum programming, the use of software synthesis and basic music and composition techniques are addressed according to the needs of individual students. The class is structured to encourage the interaction of students with a wide range of technical ability in audio from beginners to advanced artists in the early stages of a professional practice. |
Class Number |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Sel Top:Mixing/Mastering | 3004 (001) | Eric Leonardson | Wed
9:00 AM - 3:00 PM In Person |
Description
This is an intensive focus on the practice and theory of mixing audio and mastering final recordings. After making initial in-studio multi-track recordings, students will subject these to a careful examination of the creative and technical possibilities that attentive mixing can bring to a project. Mixing will be considered not just as means to a finished product, but as a crucial element of the aesthetic and conceptual process of making sonic art works. Analog, digital, and hybrid technologies will be utilized, with a focus on the parallels of analog gear and techniques and their digital emulations. Mixing for stereo output, multiple output, and other atypical situations will be covered, as well as special case applications, such as mixing and mastering for cinema soundtracks and installations.
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Class Number |
Credits |
DepartmentLocation |
| Individual Projects | 3004 (001) | Oliver Sann | Tues
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.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentLocation |
| Advanced Shape and Theory in Garments | 3005 (001) | Benjamin Larose | Wed
9:00 AM - 3:00 PM In Person |
Description
This advanced level course examines the transformation of form and identity with the body. Particular emphasis will be placed on challenging the literal definition of garment through various processes such as draping, deconstruction and reuse. Students will explore scale and materials from hard to soft, flexible and rigid. Projects using found objects and alternative resources will also be introduced. Through various assignments, students will be encouraged to expand outside the common solution, using unfamiliar territories, placing them in new context. Several projects are assigned involving individual and group critiques with development of personal direction related to contemporary issues. Parallel development in sculptural practices and design will also be examined to see the emerging context of garment as art.
PrerequisitesStudent must have completed any 2000 Level FASH course |
Class Number |
Credits |
DepartmentLocation |
| Top: Photographic Books | 3005 (001) | 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.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentLocation |
| Image Editing & Output | 3007 (001) | Sara Condo | Fri
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.
PrerequisitesPrerequisite: PHOTO 1001 and PHOTO 2010. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: The Politics of Pleasure | 3007 (001) | Ivan Bujan | Tues
12:15 PM - 3:00 PM In Person |
Description
This seminar interrogates the concept of pleasure. Pleasure occupies a fraught space in feminist and queer theory. This course examines several ways that people have theorized pleasure as a space for politics, a space for conservatism, or a way to think about racialized difference. This course is not interested in defining what pleasure is, but it interrogates what the stakes of talking about pleasure have been within contemporary theory and culture. Beginning with an examination of pleasure in the context of early twentieth century sexology, this course looks at the sex wars of the 1970s, the turn toward pleasure as a space of protest, and ends by thinking of ways to imagine pleasure outside of current paradigms of sexuality. The course takes gender, race, and sexuality as central analytic components.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top: Queer of Color Critique | 3007 (002) | Omie Hsu | Fri
8:30 AM - 11:15 AM In Person |
Description
This course welcomes students interested in the field broadly called ¿queer theory¿--even if they don¿t have a background in women¿s, gender, or sexuality studies. It requires neither expertise nor past experience precisely because the primary question the class experiments with is: ¿What could queer theory look like if we begin from the premise that its model subject is not white?¿ The syllabus is organized around how ¿queer theory¿ is differently distributed and taken up by various fields of inquiry/analysis, methodological approaches, and traditions of activism and cultural production. We¿ll use many genres and forms of queer of color theorizing as points of entry into concepts central to queer/critical thought (like intimacy, power, subjectivity, labor, sex). We¿ll read legal scholars (like Kenji Yoshino, Kimberlé Crenshaw, Ian López) alongside theorists of performance/performativity (like E. Patrick Johnson, José Muñoz); we¿ll put historical manifestos (like those by Radicalesbians, the Combahee River Collective) in conversation with contemporary literary manifestos (like Joshua Chambers-Letson¿s); we¿ll treat graphic novels (like Jaime Cortez¿s Sexile) as works of philosophy and works of political philosophizing (like writing by Cathy Cohen, C. Riley Snorton, Jeff Nunokawa) as poetic/aesthetic; we¿ll watch web series (like Brown Girls) and we¿ll write a lot. We¿ll use short, though frequent, critical reflections to frame class discussions and you¿ll use longer paper and/or creative projects to consolidate/present your learning.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Top:(Un)doing Masculinities: Queer and Trans Inter | 3007 (004) | Ivan Bujan | Tues
8:30 AM - 11:15 AM In Person |
Description
This course examines masculinity as a dynamic, socially constructed identity, actively shaped and expressed through public presentation, clothing, and social interactions. Rather than seeing masculinity as a fixed or universal concept, we explore how it is influenced by race, sexuality, class, national identity, and geographic location. We critique the Western-centered, static notions of masculinity, traditionally tied to virility, whiteness, and heterosexuality, by highlighting diverse masculinities from around the world, including racialized masculinities, female masculinities, and queer and trans masculinities. Drawing from interdisciplinary scholarship in performance studies, gender and sexuality studies, critical race theory, and queer and trans theory, the course examines how masculinity is ¿done¿ and ¿undone¿ in different cultural and historical contexts.
PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate/Advanced Screenprinting | 3008 (001) | Oli Watt | Mon
9:00 AM - 3:00 PM In Person |
Description
Advanced exploration is encouraged in the screenprinting medium. Emphasis is placed on individual experimentation, development and the refinement of technical skills. Processes offered include large format printing, 4-color separation, and other advanced traditional photographic and digital techniques.
PrerequisitesPRINT 2005 or 2008 Pre-req |
Class Number |
Credits |
DepartmentLocation |
| Color, Light, and Space | 3008 (001) | Stephanie Slaughter | Tues
9:00 AM - 3:00 PM In Person |
Description
This course focuses on color and light and their influence on the human experience in the built environment. Students study color interpretation and cultural connectivity; learn rigorous representation techniques; and develop a personal design sensibility with light and color. The course emphasizes Color Theory and Light Theory and their practical applications; color, light and culture and how people experience their environment through the senses; and the design of environmental effects using color and light in tandem with material, structure and form. Course work includes case studies, precedent research, in-class assignments, readings, design critiques, and field trips.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Art Therapy | 3009 (001) | Mon
6:45 PM - 9:30 PM In Person |
|
Description
This course is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Art Therapy | 3009 (002) | Leah Ra'Chel Gipson | Wed
8:30 AM - 11:15 AM In Person |
Description
This course is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Multi-Level Illustration | 3010 (001) | Dijana Granov | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who have completed beginning fashion illustration. Emphasis is placed on personal style and media development. Students explore a variety of texture rendering and illustration problem solving.
PrerequisitesPrerequisite: FASH 2007 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Structuring, Sequencing and Series | 3010 (001) | 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.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Symbiosis: How Life Lives Together | 3010 (001) | Matthew Nelsen | Thurs
8:30 AM - 11:15 AM In Person |
Description
Symbiosis describes the relationships that bind organisms in a life together. Symbioses can be between species or within species¿bee to flower, mother to child, and even parasite to host. Drawing from ecological, evolutionary, and behavioral research, we will carefully consider the dynamics of cooperation and dependency across cells, food webs, and even urban neighborhood. Studying symbiosis is not only a window into a myriad of extraordinary biological relations, it is also fundamental to systems thinking in the context of sustainability. Weekly readings, in-class exercises, small collaborative projects will be integral to our study, leading to an understanding of how observation and experiment can help us unpack the many complexities of living together.
We will consider the work by Lynn Margulis, Robin Wall-Kimmerer, Charles Darwin,Suzanne Simard, Harry Harlow, Thomas Schelling, Vi Hart, and many others. Weekly readings, in-class and out-of-class exercises, small collaborative projects. PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Typography | 3011 (001) | Timothy Bruce | Tues
9:00 AM - 3:00 PM In Person |
Description
This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice.
Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio. PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Print and Metal Sculpture Reacts | 3011 (001) | Jasper Goodrich | Fri
9:00 AM - 3:00 PM In Person |
Description
Many printmakers make sculptures. Many sculptors make prints. This course focuses on the connections between relief printmaking and welded metal sculpture. When an artist is interpreting the same idea between two and three dimensions, the forms take on new lives and previously unseen relationships are formed. This class will meet in the Printmedia shop with metal fabrication instruction and assignments occurring in the metal shop.
Students will learn metal fabrication and welding processes including oxyacetylene welding, MIG welding, and shaping sheet metal using a torch. In the print shop, students will learn a variety of relief printing processes with a focus on layering. Students will utilize hand carving, CNC routed matrixes, and painterly marks. By zooming in and out on small formal moments, ideas will be translated and remixed across dimensions. Students will be exposed to a wide variety of artist working between sculpture and printmaking/drawing including Martin Puryear, Kiki Smith, Richard Hunt, Judy Pfaff, Willard Boepple, Richard Rezac, Ruth Asawa, Leonardo Drew, Alyson Shotz, Fred Wilson, Joan Jonas, David Nash, Wangechi Mutu, Jannis Kounellis, Frank Stella, Bruce Onobrakpeya, Jenny Holzer, Huma Bhabha, Ann Hamilton, Rachel Whiteread, Do Ho Suh, Christopher Wool, and Ursula Von Rydingsvard. Students will complete a series of small to midsize sculptures in tandem with a series of relief prints. The class will culminate in a mock exhibition where student's sculptures and prints will interact as the viewer's body moves through the space. |
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| 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. PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
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| Birds are Dinosaurs | 3012 (001) | Jingmai O'Connor | Fri
8:30 AM - 11:15 AM In Person |
Description
Dinosaurs are the most diverse group of land vertebrates on our planet. Today. Birds are the only group to survive the catastrophic asteroid impact 66 million years ago that wiped out all other dinosaurs. Dinosaurs are a fascinating group through which to learn the fundamentals of evolutionary biology and explore how organisms respond to rapid climate change. This course explores the evolution of dinosaurs with a focus on the emergence of bird-like forms, the origin of birds, and the repeated evolution of flight. We will use critical thinking to investigate the traits that underpin the incredible evolutionary success of birds and explore the serious issue of mass extinctions.
This class will demonstrate the importance of art to the field of paleontology to convey concepts and new findings both to the public and between scientists. For example, several prominent paleontologists started as artists, and critical concepts, like the warm-bloodedness of dinosaurs, were first proposed by artists, exemplifying the interconnectedness of art and paleontology. The coursework will consist of 6 classwork assignments, a short answer midterm, and a final art project that encourages students to use art to express scientific understanding of the uniqueness of living dinosaurs. This course will leverage the incredible natural history resources available at the Field Museum through two mandatory class visits. PrerequisitesPrerequisite: First Year English requirement. |
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| Ritual and Art Making in Healing | 3012 (001) | Tues
8:30 AM - 11:15 AM In Person |
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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.
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| Chemistry of Pigments: The Theory and History of Pigment Chemistry in Art | 3013 (001) | Gary McDowell | Fri
12:15 PM - 3:00 PM In Person |
Description
How are pigments made? How were they made in the past? Why do they produce the colors they do? It all comes down to the chemicals they contain. This course will introduce fundamental concepts relating to the production of pigments, and how this relates to their use and utility throughout art history. Topics will range from the nature of light and its interaction with matter, to principles of organic and inorganic chemistry in pigment production, investigating the history and economics of pigment production relating to natural and synthetic methods. The practical lab component of the class will explore principles of these chemical reactions, and the production of certain pigments using synthetic and natural (e.g. lake pigment) processes.
Students will learn about the chemistry of color, the structure and behavior of molecules, and the historical development and use of pigments in art. Class work will involve experimental work, collaborative group work, critical analysis, and engagement with current concepts in the scientific literature of pigments. We will use qualitative homework, quizzes, lectures, and a final research project to combine understanding of chemical principles with artistic practice. PrerequisitesPrerequisite: First Year English requirement. |
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| The Colossal & The Small | 3013 (001) | Kelly F. Kaczynski | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course investigates issues of size and scale through lectures and discussions, outside readings, and the studio work of the participants. Its aim is to pursue our attraction to the gargantuan and the miniature. The course examines not only the formal factors which effect our perceptions, but, more importantly, the social, political, and psychological implications of such works. Issues of public and private space are addressed by comparing the monumental and the propagandistic elements of spectacle, as well as the enchanted, intimate, and fetish qualities of the small. Topics discussed range from Mt. Rushmore and the Statue of Liberty to David Hammons's Bliz-aard Ball Sale. Student projects are generated from their own related interests and concerns with interdisciplinary work encouraged.
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| Conservation Biology | 3014 (001) | Camila Pizano | Thurs
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 billion years of evolution. However, human modification of ecosystems has significantly altered natural habitats and landscapes, impacting the 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, as well as ecosystems. Course work includes discussion, worksheets, quizzes, online videos and readings, as well as talks by invited speakers. There will be required field trips to the Lincoln Park Zoo, and The Field Museum.
There are two textbooks are an integral part of the course (Introduction to Conservation Biology by Anna A. Sher and 'The Hidden Universe: Adventures in Biodiversity' by Alexandre Antonelli). A large component of the course content will be obtained by reading the textbooks prior to class and by studying on your own. Additional handouts, readings and videos/podcasts, are posted on this course¿s Canvas page. In this course students will develop a final project on a conservation topic of their interest, which will be developed throughout the semester. Other assignments include invited speaker talk summaries, fieldwork handouts, quizzes and class activities. PrerequisitesPrerequisite: First Year English requirement. |
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| Practices of Art and Design Education in Schools and Communities 1: Children and Youth | 3015 (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. PrerequisitesPrerequisite: Open to junior BFAAE students only or permission of instructor. |
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| Practices of Art and Design Education in Schools and Communities 1: Children and Youth | 3015 (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. PrerequisitesPrerequisite: Open to junior BFAAE students only or permission of instructor. |
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| Permeable Membranes | 3016 (001) | Melissa Leandro | Fri
9:00 AM - 3:00 PM In Person |
Description
A membrane is a thin, typically planar structure or material that separates two environments, be those physical, molecular, or cultural. This class investigates this transitional space, and the potential for movement and transgression through it. Membrane structures are developed as surfaces, forms, and spatial relationships through techniques like chenille quilting, free motion sewing with a soluble membrane, nuno felting, papermaking in 2D and 3D, resist wax dyeing (batik), dip and wick dyeing, fabric burnout (devore) through silkscreening, protein/cellulose combination dyeing, and jacquard crocheting.
Readings on conceptual permeability will include Jean Baudrillard?s ?Simulacra and Simulations?, Andrew Ballantyne?s ?Remaking the Self in Heterotopia?, Homi K. Bhabha?s ?On `hybridity? and `moving beyond??, and Roger Cardinal?s ?Secrecy?. Techniques will be divided into three major projects with written statements. This course also requires artist and reading presentations. |
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| Plant Life in a Changing World: an Ecological Perspective | 3016 (001) | Camila Pizano | Mon
8:30 AM - 11:15 AM In Person |
Description
Plants are not only fundamental for human survival and well-being, but they also sustain other life forms in all terrestrial ecosystems. This course examines the life of plants and their intrinsic interactions with each other, other organisms (herbivores, mycorrhizal fungi, seed dispersers, pathogens, etc.) and the environment. Topics discussed include how different plant species compete for resources and space, how plants have adapted to extreme ecosystems, and their interactions with multiple other organisms in natural, urban and agricultural ecosystems. These topics will be further explored in lab and field projects, readings and podcasts. We will dive into different interactive demos, activities, labs and field trips that collectively offer diverse opportunities for you to see plant science in action. An overarching focus of these activities is citizen science as a tool for environmental sustainability, equity, and research that supports communities beyond academia.
Two textbooks ('Trees' by Paul Smith and 'The Light Eaters by Zöe Schlanger) are an integral part of the course. A large component of the course content will be obtained by reading the textbooks prior to class and by studying on your own. There will be additional handouts, readings and videos/podcasts posted on Canvas. Students will develop a zine on a tree species of their preference throughout the semester. They will also set up a 3-week experiment at the end of the semester to test for different factors on plant survival and growth. Other assignments include lab reports, class activities, invited speaker summaries, and quizzes. PrerequisitesPrerequisite: First Year English requirement. |
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| Introduction to Mad Studies: Critically Interrogating Deviance and Pathology | 3016 (001) | Chun-Shan (Sandie) Yi | Wed
8:30 AM - 11:15 AM In Person |
Description
This course will explore madness and its construction as a site of pathology and deviance in our current society as well as important challenges to this construction. Utilizing an intersectional and interdisciplinary disability studies and mad studies critical lens this course will address how madness is constructed in relation to colonialist, white supremacist, capitalist, and patriarchal notions of rationality, linearity, and unity.
Readings will cover foundational texts in the anti-psychiatry movement as well as crucial texts to the development of mad studies. Many texts specifically address the relationship between race and madness. Artistic representations, as well as film and television representations will be utilized regularly. Course work will consist of weekly reading responses, short presentations, one 2-3 page analysis paper, and a final creative project that includes a 5 page analysis paper |
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| Motion Capture | 3017 (001) | Anneli Goeller | Fri
9:00 AM - 3:00 PM In Person |
Description
The Experimental 3D: Motion Capture course teaches fundamental and advanced motion capture technical skills relating to the 3D animation workflow. Students will build virtual avatars and/or 3D characters through 3D modeling, customizing prefabricated models, and 3D scanning, that are then posed through the facial blend shape, rigging, and painting skin weights processes. Students will learn, direct, and perform motion capture techniques using a variety of emerging technologies. Exploring movements that both imitate and go beyond the limitation of reality, the class will incorporate various strategies in narrative, cinematic, game, sculptural, and performative practices to expand conceptual themes. The creation of multiple self-directed motion capture projects is expected. In order to explore the conceptual framework of presenting human and nonhuman forms in a virtual manner, a research component, artist visit, field trip, and final exhibition/screening are built into the course.
*Suitable for students with basic experience in Autodesk Maya. The technical hardware and software used in this course will remain flexible as technology changes. Prerequisite: FVNM 2015 or FVNM 5025 or previous digital art experience PrerequisitesPrerequisite: FVNM 2015 or FVNM 5025 |
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| Mineralogy and Gemology | 3017 (001) | Maria Valdes | Thurs
8:30 AM - 11:15 AM In Person |
Description
This course investigates minerals ¿the foundation of our planet¿ from both scientific and cultural perspectives. We will learn the foundational principles of mineralogy¿ including crystal structures, geological formation environments, and mineral identification¿ and explore how these materials become gemstones through human intervention. With this grounding in geology and chemistry, we will also examine how humans have valued, manipulated, and mythologized minerals and gems throughout history: considering the ethics of gem mining and trade, critically assessing pseudoscientific claims around crystals and healing, as well as visit Chicago institutions that showcase the scientific and artistic beauty of minerals.
Lectures and labs will introduce students to mineral identification and the tools of gemology, such as microscopes, polariscopes, and refractometers. Readings will draw from scientific texts and essays exploring the cultural history of gems and crystals. We¿ll examine works by artists who use minerals as subject or medium, visit museum collections and local jewelry designers, and engage with contemporary discussions on sustainability, ethics, and pseudoscience. Students will connect scientific insight with creative interpretation through projects and field experiences. Students will be evaluated by a mixture of weekly journals, labs, a midterm exam, and a final art project with written essay component. PrerequisitesPrerequisite: First Year English requirement. |
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| Writing for Performance | 3017 (001) | Sara Jane Bailes | Tues
3:30 PM - 6:15 PM In Person |
Description
This course examines a variety of conceptual approaches to the 'script' (liminally defined) as a performative tool. Students study and interpret many forms including plays, monologues, found narratives, instruction-based events and public actions. Working with audio, video and artists' books/writings, the class looks at the concept of 'scripted text' not only as a medium and inspiration but also as a means of documentation. Emphasis is on research, writing, and live presentation in producing original scripts both collaboratively and individually.
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| Women Artists in Cyberspace | 3018 (001) | Judy Malloy |
TBD - TBD In Person |
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. |
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| Multi-Level Knitwear: Machine Structures | 3018 (001) | Fri
9:00 AM - 3:00 PM In Person |
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Description
This course enables students who hand knit to pursue the challenge of creating garments and/or objects with knitting machines. Through demonstration and discussion of traditional basic methods and structured exercises will give the students a foundation in various stitch patterns and techniques. Shape and fit along with texture manipulation are explored. Historical reference as well as current contemporary design concepts will be researched enabling students to focus on individual design to produce a garment or an object. Students will design, sample and explore possibilities in a traditional and non-traditional manner using various materials.
PrerequisitesStudent must have completed any 2000 Level FASH course |
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| Advanced Artists' Books | 3018 (001) | Myungah Hyon 현명아 | Tues
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.
PrerequisitesPrerequisite: PRINT 2018 or PRINT 3007. |
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| Disability Studies: Re-Imagining Bodies | 3018 (001) | Chun-Shan (Sandie) Yi | Fri
8:30 AM - 11:15 AM 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. |
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| Apollo to Artemis: The Science and Exploration of the Moon | 3018 (001) | Maria Valdes | Tues
12:15 PM - 3:00 PM In Person |
Description
The Moon, our closest celestial neighbor, is a cornerstone for understanding planetary formation and evolution. This course offers an in-depth exploration of its origin, development, and significance within the broader context of Solar System science. Although the Moon is just one of many worlds, its nearness and the rich archive of data from the Apollo missions, along with the renewed investigations planned through the Artemis program, make it an unparalleled laboratory for understanding planetary processes. We will examine the Moon through geochemistry, cosmochemistry, petrology, and isotopic analysis, introducing what isotopic studies are and why they illuminate lunar history, while also delving into its origins, surface processes, and the technologies used to investigate them.
Lectures and discussions will draw on data from the Apollo missions, lunar meteorites, and modern spacecraft such as Lunar Reconnaissance Orbiter and Artemis. We will examine scientific papers, mission imagery, and isotopic datasets to explore how the Moon formed and evolved. Students will also engage with real NASA scientists, documentaries, animations, and artistic interpretations of lunar exploration, connecting scientific understanding with creative expression through hands-on activities and visual projects inspired by lunar geology and chemistry. Students will be evaluated by a mixture of weekly quizzes, journal assignments, labs, a midterm exam, and a final project. PrerequisitesPrerequisite: First Year English requirement. |
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| Fantasy, Romance, Transcendence | 3019 (001) | Ginger Krebs | Wed
9:00 AM - 3:00 PM In Person |
Description
This course will examine the miraculous and menacing faces of fantasy: from proms, propaganda, internet romance scams, science fiction and Caffeine Free Diet Coke, to transformative and even healing collective rituals. The body¿s vulnerability to awkwardness and fatigue often seem to contrast air brushed visions of the spectacular and miraculous. Art works that use live presence to address the imaginary can therefore encourage critical reflection about the nature of longing, even as they sweep us away. How does fantasy function for human beings? Discussions about belief, desire, nostalgia, fetishism and the sacred will be guided by readings from Slavoj Zizek, Byung-Chul Han and Hito Steyerl, and artwork by Frances Stark, Miranda July, Ligia Lewis and Jacolby Satterwhite. In this class a broad range of methods for performance practice will be considered, including those that incorporate media to access the fantastic, and those that re-invent the long history of art-as- ritual. Vocal and movement improvisation games, creative writing exercises, creative responses and small-scale assignments will support students to generate three, more substantial, projects that further their individual interests and goals.
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| Tropical Ecosystems and Biodiversity | 3019 (001) | Camila Pizano | Wed
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 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.
We will read the book 'A Neotropical Companion' by John C. Kricher (2017) as well as sections of historic accounts of tropical explorers, and recent indigenous literature. Invited speakers will talk to the class about their research and conservation work in the tropics. Students will answer quizzes on assigned readings, make oral presentations on preferred topics and tropical naturalists, and work on a zine during the semester. In addition, there will be a 'talent show' of tropical species, and discussions and analyses of invited speaker talks. PrerequisitesPrerequisite: First Year English requirement. |
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| To Dye For | 3020 (001) | Diana Guerrero-Maciá | Tues
9:00 AM - 3:00 PM In Person |
Description
Color is everywhere. This fiber studio will teach students basic color theory and applied color mixing techniques using fiber reactive dyes to make a variety of projects. Experiments will begin with immersion dyeing to create solid color swatches and a comprehensive dye book of color dying charts for student to use in the future. Surface design explorations will include block printing and painterly techniques with dyes. Over-dyeing and discharge processes will be introduced as methods of adding layers of color to cloth.
Lectures on contemporary, historical, and global use of color in artworks will vary greatly and cover various centuries and methods of making. Readings in color will include Josef Albers, John Gage, and David Batchelor to name a few. Critiques will emphasize the use of color as formal & conceptual element within artwork. Students will complete several projects while testing and compiling over 100 dye test colors into a dye-sampler book with recipes for material explorations, and fabric dye testing. Students will also research color meaning, study basic color theory, and finish color-based projects of their own design and using textiles they have hand dyed as a final project. |
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| Directing Actors for Film and Video | 3020 (001) | Melika Bass | Thurs
9:00 AM - 3:00 PM In Person |
Description
This is a Production Laboratory class for students interested in working with the ideas and techniques of directing performers for the camera. We will consider issues of scripting, pre-production, rehearsing, shooting, and editing performances. The course requires active participation in 3 roles -- as a director, performer, and camera operator -- as these constitute the primary collaborative relationships of a director. The main objective of this class is to get students to consider various methods of directing performers that both explore and elaborate on traditional theatrical schools of directing. Through hands-on experience, readings, critique and screenings, students will begin to carve out their own style of working.
PrerequisitesFVNM 2004 and FVNM 2005 or FVNM 5020 |
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| Ceramics for Designed Objects | 3020 (001) |
In Person |
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Description
This course takes students on a journey through the changing landscape of ceramic art, design, and production. Recent advances in rapid prototyping technologies provide designers and artists with more direct means for transforming concepts into physical form. In this course, students explore various ways to apply advanced technologies to ceramic design and production. Students will acquire basic skills in clay modeling methods, plaster mold making, slip casting, 3D Scanning, digital modeling, and digital output methods including 3D Printing and Laser Cutting. Basic knowledge for Rhino and/or other 3D modeling software is required. The technologies and methods for ceramic production have been developing over the course of thousands of years, often linked to specific material/cultural histories. Digital tools afford makers the ability to create, manipulate, distort, and ideate without the constraints of the ceramic process. Through slide lecture, readings, group discussions, demonstrations, and self directed projects, we will consider ceramic production methods of the past and how they influence contemporary art and design practices. In this course we will ask the questions: What are the benefits and the challenges of using ceramic materials? How can we use digital tools to assist in the ideation, prototyping, and the production of ceramic objects? How can we use ceramic materials to assist in the ideation, prototyping, and production of digital objects? What is the interplay between the digital object and the ceramic object?
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| Ceramics for Designed Objects | 3020 (001) |
In Person |
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Description
This course takes students on a journey through the changing landscape of ceramic art, design, and production. Recent advances in rapid prototyping technologies provide designers and artists with more direct means for transforming concepts into physical form. In this course, students explore various ways to apply advanced technologies to ceramic design and production. Students will acquire basic skills in clay modeling methods, plaster mold making, slip casting, 3D Scanning, digital modeling, and digital output methods including 3D Printing and Laser Cutting. Basic knowledge for Rhino and/or other 3D modeling software is required. The technologies and methods for ceramic production have been developing over the course of thousands of years, often linked to specific material/cultural histories. Digital tools afford makers the ability to create, manipulate, distort, and ideate without the constraints of the ceramic process. Through slide lecture, readings, group discussions, demonstrations, and self directed projects, we will consider ceramic production methods of the past and how they influence contemporary art and design practices. In this course we will ask the questions: What are the benefits and the challenges of using ceramic materials? How can we use digital tools to assist in the ideation, prototyping, and the production of ceramic objects? How can we use ceramic materials to assist in the ideation, prototyping, and production of digital objects? What is the interplay between the digital object and the ceramic object?
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DepartmentArea of StudyLocation |
| Biological Pattern Formation | 3020 (001) | Anna Edlund | Tues
8:30 AM - 11:15 AM In Person |
Description
Description with small clarity edits: Patterns found in living organisms¿including spirals, stripes, branches, concentric circles, and spots of all sorts¿self-organize in space and time. Developmental biologists, modelers, and designers have long explored these patterns. In this seminar, we will read experimental and review articles about how biological patterns form. Students will keep journals, and groups will present and lead class discussions on examples of different patterns. The scientific findings we discuss are ones that often inform sustainable design and biomimicry in engineering.
Readings are published experimental and review articles in the field of Biological Pattern Formation, chosen by the presenting student groups, with guidance from the professor. Each seminar will focus on one pattern, for example spirals, with several articles presented, perhaps on shells, inner ear cochlea, or ram's horns. Student groups will present clusters of articles and guide class discussion; those students not presenting participate in the discussion and keep journals. A written, final paper is completed by each student on their choice of pattern. PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Biological Pattern Formation | 3020 (002) | Anna Edlund | Fri
12:15 PM - 3:00 PM In Person |
Description
Description with small clarity edits: Patterns found in living organisms¿including spirals, stripes, branches, concentric circles, and spots of all sorts¿self-organize in space and time. Developmental biologists, modelers, and designers have long explored these patterns. In this seminar, we will read experimental and review articles about how biological patterns form. Students will keep journals, and groups will present and lead class discussions on examples of different patterns. The scientific findings we discuss are ones that often inform sustainable design and biomimicry in engineering.
Readings are published experimental and review articles in the field of Biological Pattern Formation, chosen by the presenting student groups, with guidance from the professor. Each seminar will focus on one pattern, for example spirals, with several articles presented, perhaps on shells, inner ear cochlea, or ram's horns. Student groups will present clusters of articles and guide class discussion; those students not presenting participate in the discussion and keep journals. A written, final paper is completed by each student on their choice of pattern. PrerequisitesPrerequisite: First Year English requirement. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Constructing Meaning: Exhibit Design Practicum | 3021 (001) | Amy Reichert | Wed
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.
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DepartmentArea of StudyLocation |
| Becoming Human: Evolving Conceptions of Human Development | 3021 (001) | Melita Morales | Tues
12:15 PM - 3:00 PM In Person |
Description
In the work of becoming and being an educator, it is necessary and important to comprehend the evolving ways human development is understood, engaged, and implicated in the teaching of children, adolescents and adults. Humans are, to put it simply, different. And it is these differences that present opportunities and challenges in teaching and learning. This course offers an interdisciplinary investigation into evolving conceptions of human development, including, but not limited to, psychological, legal, historical, and sociological frameworks. Additionally, students will explore the histories of childhood as they impact and have impacted the material culture of schools and school design.
Investigating evolving conceptions of human development will provide teacher candidates with interdisciplinary perspectives to build their own understanding of students as subjects in formation. This includes gaining theoretical, historical, and pedagogical knowledge on a range of developmental issues in education. Readings include works by John Dewey, W.E.B. DuBois, Tom Shakespeare, Cris Mayo, Deborah Britzman, Stephen Vassallo, Alexandra Lange, Erik Erikson, Jean Piaget, and Maria Montessori as well as overviews of Disability, Race Conscious, and Queer Theories in education. Course work includes an essay questioning & responding to human development, an analysis of childhood development as illustrated in children's literature, an interpretation of adolescence as represented through short films, along with a midterm and final project documenting the work of learning throughout the semester. PrerequisitesPrerequisite: Open to junior BFAAE students only or permission of instructor. |
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DepartmentLocation |
| Print into Sculpture: 3D Screens | 3021 (001) | Amy Yoes | Fri
9:00 AM - 3:00 PM In Person |
Description
This class will provide students with skills and knowledge to translate two dimensional printed cloth into three dimensional sculptural forms. Students will explore various strategies for creating three-dimensional works using screen printed fabrics, and they will also learn a range of screen printing techniques. Students will learn how to create a range of hanging and installation structures using wood, dowels, rope, string, found objects, and other materials. Tools like the plotter/cutter and heat press will also enable students to expand the scope of their 2D and 3D print explorations. The flexibility of fabric will be deployed in the creation and assembly of sculptural forms that can be portable and expandable. No prior print experience is required.
Works by artists including Lara Schnitger, Sam Gilliam, Alan Shields, Joe Overstreet, Al Loving, Judy Pfaaf, Phyllida Barlow, Ree Morton, Robert Rauschenberg, Lygia Pape, Jessica Jackson Hutchins, Dorothea Rockburne, Carla Accardi, Lucy Orta, Lina Bo Bardi, Michelle Segre, Brian Eno, Helio Oiticica, and Do So Huh will be presented. Technical demonstrations, visual presentations, and discussions, will be augmented by assigned readings and experimental texts exploring space, place, spatial composition and design, charts, and architecture by authors including E.H. Gombrich, William Davenport, Marina Warner, Bernard Rudofsky, and Miwon Kwon. Students will complete three studio projects for critique organized around themes of spatial design, improvisation, and site-specificity. Other assignments can include reading responses, samples and in-class experiments, keeping a sketchbook / record of ideas, and/or material and technical research. |
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Credits |
DepartmentLocation |
| Becoming Human: Evolving Conceptions of Human Development | 3021 (002) | Ali Blake | Tues
12:15 PM - 3:00 PM In Person |
Description
In the work of becoming and being an educator, it is necessary and important to comprehend the evolving ways human development is understood, engaged, and implicated in the teaching of children, adolescents and adults. Humans are, to put it simply, different. And it is these differences that present opportunities and challenges in teaching and learning. This course offers an interdisciplinary investigation into evolving conceptions of human development, including, but not limited to, psychological, legal, historical, and sociological frameworks. Additionally, students will explore the histories of childhood as they impact and have impacted the material culture of schools and school design.
Investigating evolving conceptions of human development will provide teacher candidates with interdisciplinary perspectives to build their own understanding of students as subjects in formation. This includes gaining theoretical, historical, and pedagogical knowledge on a range of developmental issues in education. Readings include works by John Dewey, W.E.B. DuBois, Tom Shakespeare, Cris Mayo, Deborah Britzman, Stephen Vassallo, Alexandra Lange, Erik Erikson, Jean Piaget, and Maria Montessori as well as overviews of Disability, Race Conscious, and Queer Theories in education. Course work includes an essay questioning & responding to human development, an analysis of childhood development as illustrated in children's literature, an interpretation of adolescence as represented through short films, along with a midterm and final project documenting the work of learning throughout the semester. PrerequisitesPrerequisite: Open to junior BFAAE students only or permission of instructor. |
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Credits |
DepartmentLocation |
| Designed Objects Core Studio 3: Objects with Behavior | 3022 (001) | Ben Stagl | Thurs
9:00 AM - 3:00 PM In Person |
Description
Core Studio 3 introduces students to designing objects and systems that behave¿objects that sense, respond, and interact over time. The studio marks a transition from designing isolated artifacts to designing systems whose form, logic, and interaction are inseparable.
Students are introduced to fundamental concepts of interaction and systems thinking, including inputs and outputs, states, timing, feedback, and legibility. Using simple electronics, sensors, and actuators, students prototype behaviors and explore how objects communicate what they do through form, response, and feedback. Coding is approached conceptually and pragmatically, with emphasis on understanding and shaping behavior rather than technical mastery. AI and traditional coding tools are used to support iteration, translation, and debugging while students retain authorship over design intent. 3D modeling is used to design structures, enclosures, and assemblies that integrate physical form with electronic components. Prototyping combines rough physical builds with basic interaction logic to test usability and clarity. Visualization tools are introduced to diagram systems, map interactions, and make invisible processes understandable. By the end of the studio, students understand building as an integrative practice¿one that brings together materials, structure, and behavior to create coherent interactive objects. Who this course is for This studio is for students who are comfortable designing physical objects and are ready to explore how objects can act, respond, and interact. It is intended for students interested in interactive products, responsive environments, and hybrid physical¿digital systems, regardless of prior coding experience. When to take it Core Studio 3 is typically taken after completing Core Studios 1 and 2, once students have foundational experience with materials, prototyping, and digital workflows. The studio is designed to run alongside the core skills courses¿Designing Interaction, Sketching, and 3D Modeling¿reinforcing the integration of material exploration, digital workflows, visualization, and prototyping. It is intended to be taken after or alongside the Designing Interaction core skills course. The studio also pairs well with technical or future-focused electives. PrerequisitesPre-req: DES OB 2030 Designed Objects Studio Two |
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DepartmentArea of StudyLocation |
| Beginning Screenwriting | 3024 (001) | Anahita Ghazvinizadeh | Tues
12:15 PM - 3:00 PM In Person |
Description
This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.
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DepartmentArea of StudyLocation |
| Beginning Screenwriting | 3024 (002) | Gitanjali Kapila | Fri
8:30 AM - 11:15 AM In Person |
Description
This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.
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DepartmentArea of StudyLocation |
| Studio Stuff: The Paradigm of Collecting | 3025 (001) | Jerry Bleem | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course will explore strategies for collecting things (not necessarily of any particular monetary value) to be used as conceptual impetus, subject matter, and/or physical materials in the studio. The class will include discussions of the nature of classification and organization; the nature of attraction based on memory, physicality, and visual language; the relationship of time and distance to collection; and how quantity and mass change our perspectives and attractions. The class will also examine how artists have employed the act of collecting as a significant aspect of their work.
Field trips will be an integral part of this class; our goal is to experience a rich mix of collections that illustrate the possibilities of this way of thinking. Readings will be drawn from important exhibition catalogs [Deep Storage and The Keeper], writings about artists, hoarding, the evolution of museums, and our fluid sense of value. Students will be expected to respond to assigned readings, present research, participate in a collaborative project exercise, and produce a mid-term and final project that synthesizes the experience and the material. |
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DepartmentLocation |
| Writing for Film, Video, and Performance | 3025 (001) | James Trainor | Wed
12:15 PM - 3:00 PM In Person |
Description
An interdisciplinary studio that develops skills specific to the challenges of writing for time-based projects, especially works in film, video, installation, and performance. The primary focus is in-class writing, a range of textual experiments, and workshop /critique of students' writing in relation to their own works-in-progress. We pay attention to 'invisible' texts--the writing before the script, free-writing, conceptual issues--as well as overt ones. Special emphasis is placed on developing the ear in work on monologue, dialogue, and voice-over. The class reads and discusses selected scripts and writings by artists, screens films and videos, attends exhibitions and performances, and performs close analyses (another form of 'reading') of texts.
PrerequisitesFVNM 2004 or FVNM 3003 or FVNM 5020 |
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DepartmentArea of StudyLocation |
| FABRICATION FOR FASHION - textile and finishing studies for fashion | 3025 (001) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
In this course students immerse themselves in the language of fabrics to express their design concepts in fashion. Students study the origins of a fiber, its use in a yarn, the types of weave, material blends, and fabric finishing all of which result in the distinct characteristics of a material. Students observe how these material conditions determine shape, volume, drape, and flow, and learn the terminology for the professional application. Students study the handling of the fabrics, and stitch sample finishing studies. These material and finishing samples become a personal sample library. This empowers students to discern how to choose or switch fabric to define and push forward their design.
Textile terminology will frame the weekly discourse, as new materials are introduced, studied, explored and handled. Draping exercises lead to deepened studies of the materials as they lend themselves to certain forms. Mills, showrooms, and trade representatives will be invited to workshop with the students. Books referenced in this course are focused on basics of textiles and applications including how to handle fabrics: Fabric for Fashion: The Complete Guide, Second Edition; Laurence King Publishing Fabric for Fashion The Swatch Book, Second Edition ; Laurence King Publishing Sewing For Fashion Designers ; Laurence King Publishing In addition students will be introduced to trade organizations which provide educational, as well as trend forecast and sustainability information. The Woolmark Company: www.woolmark.com/about/; Cotton Inc.: www.cottoninc.com/about-cotton/; Cotton Works: www.cottonworks.com; NCTO (National Council of Textile Organization): www.ncto.org; Première Vision: www.premierevision.com/en/about Students will create a fashion fabric and finishings sample and research book, along with a fully executed garment utilizing their discerning study. PrerequisitesFASH 2001/2014/2016/2020/2022/2024/2901 |
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| Comics & Catastrophe | 3026 (001) | Todd S. Hasak-Lowy | Tues
3:30 PM - 6:15 PM In Person |
Description
This course reads major historical catastrophes as represented in comics (graphic novels or graphic memoirs). Students will explore the ways this medium conducts a dialogue between history and memory, on the one hand, and image and text, on the other.
Course texts include Art Spiegelman's Maus, Thi Bui's The Best We Could Do, Joe Sacco's Footnotes in Gaza, and Nora Krug's Belonging. Students will also read theoretical material on comcis (e.g. Scott McCloud's Understanding Comics) as well as standard historiography on the various historical events at the center of each book/comic we read. Students will write two short essays (2-3 pages), one creative project, and one 7 page final essay. PrerequisitesPrerequisite: First Year English requirement. |
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| Origin and Evolution of the Solar System | 3026 (001) | Maria Valdes | Fri
8:30 AM - 11:15 AM In Person |
Description
Cosmochemistry lies at the crossroads of chemistry, physics, geology, astronomy, and biology, helping us answer fundamental questions about our Solar System's formation and evolution. About 9 billion years after the Big Bang, our Sun ignited, and 4.6 billion years of chemical evolution followed- shaping planets, asteroids, moons, and more. This course explores the origins of planetary materials, Earth's composition, and why studying extraterrestrial samples is key to understanding our home planet. Where did water come from? What led to life's emergence? How can this knowledge guide space exploration? Through cosmochemistry, we uncover the processes that shaped our world and beyond.
Lectures will provide the foundation for the material covered in this course. In addition, we will read recent publications from scientific journals and other selected texts, engage in class discussions, watch videos, listen to a podcast about NASA's Apollo missions, and participate in hands-on lab work to understand meteorites. By the end of the course, you will be able to: 1. Describe the processes involved in the formation and evolution of planets and other astromaterials, and summarize the evidence for this narrative. 2. Identify and characterize different meteorites types. Explain why they are crucial for cosmochemistry research. 3. Explain the relationship between Earth and other Solar System materials. Students will be evaluated by a mixture of weekly assignments, quizzes, a group midterm project, and an individual final art project with a written component. PrerequisitesPrerequisite: First Year English requirement. |
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DepartmentLocation |
| Handmade Cinema | 3027 (001) | Tatsu Aoki | Mon
9:00 AM - 3:00 PM In Person |
Description
Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip.
This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. PrerequisitesFVNM 2000 or FVNM 5020 |
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DepartmentArea of StudyLocation |
| Microbial Ecology of a Changing World | 3027 (001) | Jackson Watkins | Thurs
6:45 PM - 9:30 PM In Person |
Description
Bacteria, viruses, and fungi are abundant in nearly all environments on Earth. From the fresh waters of Lake Michigan to salty seeps buried deep below the ocean surface, microbes have developed specific niches that allow them to inhabit even the most inhospitable parts of our world. In this lab course we will dive into the rich history of our planet¿s most ancient life forms to better understand their role on an Earth that is changing more rapidly than at any other point in its history. We will also consider the cultural contexts of microbes, including their crucial roles in the development of agriculture, fermentation, and even the air that we breathe. Hopefully by the end of this course you will appreciate how invisible worlds have shaped nearly every aspect of our day-to-day lives.
While this will primarily be a lab course, the lecture and reading material will explore popular scientific texts in the field including Ivette Perfecto and John Vandermeer's analyses on food security and biodiversity, Jennifer Mcintosh's work on aquifer microbial ecosystems and groundwater security, and a handful of works from microbial ecologists who study a wide diversity of ecosystems on Earth. Social and cultural analyses of modern ecology by Richard Lewontin, Anna Tsing, Robin Kimmerer, and Ivette Perfecto will also be used in class. Labs will cover cultivation, analysis, and identification of microbes, their niches in the environment, and their roles in the cycles that govern all life on Earth! Course and labwork will include in-class assignments, scientific readings, hands-on labs, a final project, and maybe even a field trip. |
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| New Realities: Simulations of Future Worlds | 3028 (001) | Kristin McWharter | Wed
9:00 AM - 3:00 PM In Person |
Description
As we adapt to the evolving demands of our politics and environment, we are often asked to prepare for a 'New Reality'. How are 'New Realities' imagined and formed? How can the act of imagining become a tool of creation?, This course will technically and conceptually explore what it means to create and simulate ?new realities? within game engines. As XR (extended reality) technologies such as virtual reality and augmented reality devices have become untethered, video game entertainment has become as ubiquitous as film, and user familiarity with the rhetoric of virtual worlds has become more common, this course will expose students to the many modalities in which game engines can be used to produce artwork.
Exploring histories of artists using digital media and simulation to produce interactive and highly immersive experiences, this course offers students technical guidance in creating artistic output from game engine tools, while learning from artist practices of that range from games, animation, simulation, to machinima (cinematic film captured from game engine worlds). With an emphasis on how interactive 3D worlds interact with our increasingly online and virtual routines, students will build projects that explore themes of participation, movement, behavior and world building to investigate our perceptions of ?reality?. The collected group of individuals in this class will act as an experimental lab of participants, collectively and individually pushing the boundaries between the virtual and the physical. Primarily working with the software Unity, this course will include technical demos, readings, and investigations into the histories of immersive media, machinima, and play as an artistic medium. Previous experience working with Unity recommended but not required. Course work will vary but typically includes weekly reading responses, a mid term project, a final project as well as in class demos and workshops. Students may work collaboratively on these projects if they choose. |
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| Chemical Aftertaste: reactive processes for screen printing | 3029 (001) | Christine Tarkowski | Wed
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. |
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| Time, Material, and the Everyday | 3030 (001) | Stacia Laura Yeapanis | Tues
9:00 AM - 3:00 PM In Person |
Description
Diverse aspects of material studies (personal, social, political, economic, visual and formal) will be considered in this course, working from forms and structures that are hand-constructed, as well as everyday found objects. The class will begin with a series of exercises exploring the visual possibilities of recording time and movement in repetitive everyday actions. Hand processes of netting, crochet and other intertwining techniques will be introduced through the language and systems of both textiles and the digital. Readings and visiting artists will present a range of ideas about art and the everyday, opening up dialogue about forms and formats of installation and documentation.
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| Figure Painting A: Multi-Level | 3030 (001) | Caitlin Cherry | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
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Credits |
DepartmentArea of StudyLocation |
| Figure Painting A: Multi-Level | 3030 (002) | Don Southard | 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. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
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Credits |
DepartmentArea of StudyLocation |
| Figure Painting A: Multi-Level | 3030 (003) | Dylan Rabe | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
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DepartmentArea of StudyLocation |
| Without Walls - Puppetry In the Outdoors | 3031 (003) | Blair Thomas | Fri
9:00 AM - 3:00 PM In Person |
Description
Combining both medieval and contemporary performance practices, this class probes the possibilities of object and figure theater performance in the outdoor setting. We will examine the Renaissance spectacles of Piero di Cosimo, the Eastern European Happenings, the public ceremonies of Welfare State International and the street protest of Bread & Puppet Theater. Exercises will explore the making of large-scale graphic image making, such as Cantastoria, Banners and Scrolls. Through group collaborations the class will learn giant puppet making techniques and construction. The class will culminate in an all class outdoor spectacle.
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| Sound Installation | 3032 (001) | Shawn Decker | Mon
9:00 AM - 3:00 PM In Person |
Description
This class is intended for advanced undergraduates and graduates who are interested in the use of sound in an installation context. It is expected that students may come from a diverse set of backgrounds, and as such this course will be to some degree determined by the background of the students, and their specific needs. The course will include critical discussions of sound art and related installation and media art practices: a brief history of the sound/art interface, a brief introduction to acoustics, and readings by theorists and artists such as R.M. Schafer, Sterne, LaBelle, Cage, Lucier, Kahn, Lockwood, Fontana, Panhuysen, Lerman, Neuhaus, Monahan, Kim-Cohen, Kubitsch, Hellstrom, and Wollscheid. The topic of real-life sound installation exhibition and social context will also be covered, with input from the SAIC Exhibitions and Events Department. The course will also cover various methodologies for using/creating sound in installations through tutorials that are designed to give functional knowledge of each particular technique, as well as an introduction to the possibilities these techniques. Depending on the students? backgrounds and needs, potential topics for these tutorials include: basic sound recording and playback techniques, basic sound synthesis and electronics for audio, digital sound recording and editing, the fabrication of mechanical systems which create sound, using MAX (a visual MIDI programming language used for control and for processing audio), basic electronics for environmental sensing (sound, light, motion, etc.). In addition to working on various preliminary individual and collaborative projects during the semester, students will write a proposal for and present an installation as their final project.
PrerequisitesPrerequisite: SOUND 2001 or permission of instructor. |
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| Transformation and Spectacle: The Intersection of Fashion and Performance | 3032 (001) | Annie Marie Novotny | Thurs
9:00 AM - 3:00 PM In Person |
Description
In this class students explore the relationship and intersection between fashion and performance from runway to drag and everything in between. How can garment influence or punctuate the performer? Can a fashion presentation transcend editorial and tip over into performance? How is gender performed? When does fashion become spectacle? This course asks students to participate in media consumption, readings, and discussions while responding to the material presented, in the medium of their choice.
Readings and media will vary but students will be exposed to footage, runway presentations, and documentaries on a variety of artists including Leigh Bowery, Divine, and Alexander McQueen, and Cindy Sherman to name a few as well as contemporary performance artists and designers that blur the lines between performance and fashion. Practicing artists and drag queens from around the community and the country will present and workshop with students asking them to challenge their ideas of performance and adornment. The projects assigned vary from year to year, but always allow for broad medium expression, playfulness, and responsive freedom to the materials being presented. |
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| Capturing Time: The Intersection of the Cinematic and Photographic Image | 3032 (001) | Alan Labb | Thurs
6:45 PM - 9:30 PM All Online |
Description
Capturing Time explores the relationship between cinematic and photographic images through historical, theoretical, and artistic practices. Students will investigate the elusive concept of time and its presence across disciplines, forming the foundation for creating and experiencing time-based art. Weekly readings, screenings, and research will examine time, temporality, and the boundaries of still and moving images. Historical and contemporary resources will inform studio work, including visual exercises and a final project, culminating in a substantial body of work in each student's chosen medium.
Prerequisites3 Credits of 2000-level Photo course |
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| Visualization and Storyboarding | 3033 (001) | Shelley Lynn Dodson | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed.
A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound. PrerequisitesPrerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020 |
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| Comics to Print | 3033 (001) | Conor Stechschulte | Tues
9:00 AM - 3:00 PM In Person |
Description
This course will look at the inseparable link between comic stories and how they are reproduced. In the first half of the semester, we will gain familiarity with screenprint and risograph printing techniques, look at historical and contemporary examples of how artists employ print technology to tell stories and do in-class exercises. In the second half, students will produce their own printed comics and discuss them in group critiques.
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| Visualization and Storyboarding | 3033 (002) | Nick Flaherty | Fri
9:00 AM - 3:00 PM In Person |
Description
This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed.
A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound. PrerequisitesPrerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020 |
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| The Creative Lives of Archives | 3034 (001) | Deanna Ledezma | Thurs
12:15 PM - 3:00 PM In Person |
Description
Archives are more than boxes of historical documents studied by historians. As this course demonstrates, archives are also sites of creative practices, interventions, and collaborations. Focusing on archival practices in contemporary art, this course examines how artists make work with preexisting archives and produce new collections of their own. We will investigate how artists have activated archival collections, countered exclusions in archives, critiqued colonial archives, and developed archives with and for marginalized communities. The course will provide an overview of key terms and major themes in critical archival studies, such as memory, ephemera, critical fabulation.
Readings will include texts by the following scholars, curators, and archivists: Sarah Callahan, Tina Campt, Michelle Caswell, Maria Eugenia Cotera, Ann Cvetkovich, Okwui Enwezor, Saidiya Hartman, Carolyn Steedman, and Diana Taylor. Along with these writings, we will learn about the art practices and archives of LGBTQ+ and BIPOC artists: William Camargo, Guadalupe Rosales, Wendy Red Star, Irene Antonia Diane Reece, Diana Solís, Stephanie Syjuco, and Fred Wilson. In addition to the Flaxman Library Special Collections, we will visit archives held in Chicago institutions, such as the Newberry Library, the Gerber/Hart Library and Archives, and the Harold Washington Library Center. During these class trips, we will meet with archivists and librarians. Coursework will include written reflections on assigned readings and field trips, a creative project based on an archival collection, and a final research paper and presentation on a self-selected topic. PrerequisitesPrerequisite: Art History Survey Requirement OR Graduate Student |
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| Social Fabric(s) | 3034 (001) | Savneet K Talwar | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class considers the 'social fabric' as a type of material that can be used by artists and activists to create connections and community. Through collaborative and individual explorations, we will examine the possibilities of fibers/textiles to foster and strengthen community, create social bonds, educate, raise awareness about social and political issues and advocate for change. We will explore banner making, piecework and quilting, using hand sewing techniques and a range of materials. The first half of the class will focus on banner, flag making, and quilting techniques, exploring their histories of collective making and their use in political organizing and activism. The second half of the term will focus on sewing, piecing, appliqué and will consider the digital realm to further objectives of connectivity and communication. We will realize or propose projects that are accessible and can engage the public. Throughout the class, we'll look at historical and contemporary examples of fiber and textiles used to protest, unite, educate, and agitate for change in the USA and beyond. We'll pay particular attention to the ways in which people and communities came together to create these works, and explore connections between art making, community building, and social change. Students are encouraged to articulate and explore their individual interests and draw on their experiences and lives outside the art world and SAIC.
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| 16MM Production | 3034 (001) | Thomas Comerford | Tues
9:00 AM - 3:00 PM In Person |
Description
16MM is an advanced production course, which builds on the skill sets of Media Practices: the Moving Image, Sonics & Optics, and Form & Meaning. All shooting is done on 16mm film utilizing classic film set-ups and strategies. The sync sound shoot will be a guiding topic of the course, but many other production strategies and technical topics will be introduced. By the end of the course, students will be proficient with advanced 16mm sync sound cameras, lighting for film, audio field and sync recording. The class is very hands-on, requiring both personal and in-class group projects. Towards the end of the semester, students work together as a crew on a group film shoot using the classic hierarchical Hollywood style divisions of labor. Students will get an overview of two finishing workflows ? completion on 16mm film and digital completion. This is an ideal class to round out cinematic skills, which may be also applied to a digital interface.
The course includes technical, aesthetic and practical readings from the 'Filmmaker's Handbook' by Ascher & Pincus, 'Voice & Vision' by Mick Hurbis-Cherrier, 'Film Art' by Bordwell and Thompson, as well as 'Audio-Vision' by Michel Chion. Each student is expected to show a final 16mm film edited to a fine cut state by the end of the semester. Due to the expense of 16mm filmmaking, students have the option of producing and funding their own individual projects, or editing the class funded group project for the final critique. The course also includes a final technical exam towards the end of the semester. PrerequisitesFVNM 2004 and FVNM 2005 or FVNM 5020 |
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| Computer Imaging for Fashion Design | 3035 (001) | Donald Yoshida | Mon
9:00 AM - 3:00 PM In Person |
Description
In this class students learn necessary computer tools to enhance their fashion designs. This class gives students an additional medium to push and refine their designs; additionally, it prepares students for industry work. Students learn on an Adobe platform, which offers in-depth tools for 2D design. Knowledge of the basic Adobe tools enables students to transition into other illustrating platforms they may encounter in the future. Projects include translating hand-drawn designs into computer drawings, creating full designs on the computer, scanning and masking prints, creating prints, creating lay-out, presentation, flat drawing, and more.
PrerequisitesStudent must have completed any 2000 Level FASH course |
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